CD

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).

The colour of every FEN album points towards its lyrical and musical content. For the first time in their career, the East Anglian post-black metal trio has used the colour red on the cover artwork of their seventh full-length "Monuments to Absence". FEN describe the album as an expression of anger, hopelessness and despair – anger at the desperate futility of a human species hell-bent on self-destruction. This is reflected in the decidedly harsh and black sound of "Monuments to Absence", which is undoubtedly FEN's most extreme recording to date, even though there are still moments of atmospheric glory, spatial clean sections, heaving doom, and full-blown riffs, which augment the furious expression of rage. FEN took their name from the Fens of East Anglia when the trio formed in 2006. These desolate and bleak landscapes have left a deep mark in the post-black metal sound, which the band pioneered in the UK when the English scene revitalised in the wake of forerunners FOREFATHER with bands such as FEN, WINTERFYLLETH, and WODENSTHRONE coming to the fore. When FEN released their debut full-length "The Malediction Fields" (2009), the band made good on the huge promise of their previous EP "Ancient Sorrow" (2007) by delivering a first album that already combined the black metal tradition elegantly with a dedicated atmospheric twist and gentle experimentation beyond the perceived narrow confines of their genre. With each following full-length, from "Epoch" (2011), via "Dustwalker" (2012), "Carrion Skies" (2014), "Winter" (2017) to "The Dead Light" (2019), FEN have expanded both their musical range and following, while also perfecting their recognisable and unmistakable sound. "Monuments to Absence" marks FEN's welcome return to a dark and fierce sound.

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.

New double live album including 2x studio bonus tracks

This killer live recording was recorded in France during "The World Panzer Battle Tour". Originally released via Regain Records, this killer Marduk live show is finally made available again on Back On Black.

Jewelcase

Jewelcase

Collector's Edition in 4-panel digipack with 8-page booklet.

Midnight Betrothed (AUS) presents its second full-length album, "Death...My Faithful Bride", containing six new tracks of dark romanticism in praise of moonlit tragedy and forlorn love.

Fronted by The Seer (Lament in Winter's Night, Vrörsaath etc.), Midnight Betrothed further refines its unique blend of 'Sombre Romantic Black Metal' throughout this sophomore album, bringing forth overtures of funeral erotica and deathly fantasia.

Reissue of the band's fantastic debut album from 1999 with original artwork and revised layout including all lyrics, extensive liner notes and many photos from the early days.

The CD comes as Collector's Edition in 4-panel digipack with 8-page booklet, limited to 500 copies, and includes the "Rabenflug" demo from 1996 as exclusive bonus tracks.

"Reign of Tempests" is a genuine classic of German Melodic/Symphonic Black Metal and an absolute must have for all fans of this genre. Pure 90s nostalgia!!

Both album and demo were meticulously restored and remastered for optimal sound on CD as well as vinyl by Patrick W. Engel at Temple of Disharmony in 2022.

Re-released with kind permission from DIES ATER and now available for the first time ever on vinyl and as DigiCD with the original artwork!

Reissue of the band's brilliant second album from 1998 with original artwork & sound, and layout only adjusted to the 8-panel digipack format, under exclusive license from Napalm Records.

"Provenance of Cruelty" is the second album of Mactätus, originally released by Napalm Records in late 1998. At the time of its release the hype for Scandinavian Black Metal in general and Symphonic and Melodic Black Metal in particular was already declining, following milestones such as Emperor's "In the Nightside Eclipse", Dimmu Borgir's "Stormblåst", Mörk Gryning's "Tusen år har gått", Gehenna's "Second Spell" or Limbonic Art's "Moon in the Scorpio". The result was that at the time of their release in late 1998 equally brilliant Symphonic Black Metal albums such as Odium's "The Sad Realm of the Stars" or Mactätus' "Provenance of Cruelty" were not as appreciated by a majority of fans as the earlier classics before them and remained a bit obscure and underrated for quite some time. While that changed later for Odium's debut album when it gained the underground cult status it deserves, "Provenance of Cruelty" somewhat suffered from the added drawback of being released by a label that at the time was already more focused on Gothic Metal, and also not necessarily one of the "cult" labels of the time. This, however, is definitely an album that belongs in every Symphonic or Melodic Black Metal collection and fans of the aforementioned albums should definitely check it out if they don't know it yet!

Firstpress with Slipcase

Simply titled but by no means simple in construction nor execution, Djinn builds upon the increasingly ambitious songwriting of its no-less-considerable predecessor, but pushes their dazzling artistry into nearly Technicolor landscapes of the Beyond. Upon the first opening notes, this boundless artistry is felt: big, rolling rhythms reminiscent of post-punk, tantalizingly setting the stage for the splendorous expanses to follow. There's a certain magick at play here, no doubt bolstered by the band's rhythm section of Josiah Babcock (who puts in his final performance here) and new bassist Nate Verschoor, erstwhile mainman of Veiled; this throttling-yet-deft foundation both leads and plays acute counterpoint to the spiraling, windswept riffing of founders Jake Superchi (also vocals) and James Sloan, their guitar work transcending the poignancy of prior works. And indeed, Djinn's generous six-song/hour-long runtime no doubt allows the listener the ultimate freedom to roam within Uada's ever-unique world, spanning both smothering speed and deliriously dream-like states, Very Metal urgency and textural exploration alike - put simply, the band at the height of their creative powers. Djiin is truly its own realm of experience.

"Djinn, first inhabitors of this world, the smokeless fire and those we call upon our enemies, has gifted us a 60-minute descent into the modern-day possessions of our existence and demise," state the band, "A duality that can only be known as our third wish."