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Preorder items - Extreme Metal and Dark music
“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”
Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay.
“Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.”
Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year. “Fortunately, all of the recordings for Decay were completed long before the surgery, vocals included… although the back end of a couple of songs were recorded with the hernia itself, and that was a struggle. I was already aware that the GODFLESH shout, so to speak, was exacerbating the hernia greatly, as was every GODFLESH performance in the lead-up to the surgery once the hernia appeared, and the hernia was mostly caused by year upon year of shouting in GODFLESH. The album was mixed post-surgery, and while I was still in some pain and considerable discomfort, but fortunately GODFLESH is generally me expressing my pain, albeit [usually] mental, philosophical and existential, whereas this was physical pain.”
While the middle of the record pulses with five-minute hate-grooves, Broadrick credits the slime-wracked opener “Master and Slave” and crawling closer “Consume Me” with Decay’s true conceptual thrust. “The bookends of Decay are the most important pieces to me. They say it all, so to speak; the album could have been just those two songs alone – the duration of them is half of the total album!”
As GODFLESH's active tenure comes to a close, Broadrick expresses gratitude that it was ever his vessel to use as he willed. “It expresses my pain, and I’ve put my body and soul into this expression for the majority of my existence. I feel quite lucky, because Godflesh is now physically impossible for me, rendering it useless. I now wish to move out of its constraints, move on creatively with heavy/ugly music to new ground.”
Shadow Records (distributed and marketed by Regain Records) proudly presents the reissue of Sorhin's debut EP, Skogsgriftens rike on LP and CD formats. Originally released in 1996, Skogsgriftens rike marks the beginning of Sorhin's journey into the pantheon of Swedish black metal, laying the foundation for the cult full-length albums “I det glimrande mörkrets djup” and “Apokalypsens ängel”. Even at this early stage, the band's identity was fully formed, a cold, evocative and unmistakably Nordic vision that would become their enduring hallmark. Nearly thirty years on, Skogsgriftens rike still stands as a monument to the cold majesty of 1990s Swedish black metal, untouched by time, uncompromising in spirit, and as haunting as the northern wilderness that inspired it. Formats: 12" vinyl LP (black vinyl) -Sturdy 300gsm vinyl-sleeve with bronze pantone print -Vinyl insert -Double-sided A2 poster -Limited to 400 copies on black vinyl -CD jewelcase -8 page booklet
Shadow Records (distributed and marketed by Regain Records) proudly presents the reissue of Sorhin's debut EP, Skogsgriftens rike on LP and CD formats. Originally released in 1996, Skogsgriftens rike marks the beginning of Sorhin's journey into the pantheon of Swedish black metal, laying the foundation for the cult full-length albums “I det glimrande mörkrets djup” and “Apokalypsens ängel”. Even at this early stage, the band's identity was fully formed, a cold, evocative and unmistakably Nordic vision that would become their enduring hallmark. Nearly thirty years on, Skogsgriftens rike still stands as a monument to the cold majesty of 1990s Swedish black metal, untouched by time, uncompromising in spirit, and as haunting as the northern wilderness that inspired it. Formats: 12" vinyl LP (black vinyl) -Sturdy 300gsm vinyl-sleeve with bronze pantone print -Vinyl insert -Double-sided A2 poster -Limited to 400 copies on black vinyl -CD jewelcase -8 page booklet
Demo and rarities collection.
15 remastered tracks! 8 tracks have never been released on CD before and 1 completely exclusive song.
Curated by the band. Officially licensed from Theatre Of Tragedy.
Limited to 500 copies
Super Jewel Box
16 page booklet on uncoated offset paper stock
“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”
Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay.
“Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.”
Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year. “Fortunately, all of the recordings for Decay were completed long before the surgery, vocals included… although the back end of a couple of songs were recorded with the hernia itself, and that was a struggle. I was already aware that the GODFLESH shout, so to speak, was exacerbating the hernia greatly, as was every GODFLESH performance in the lead-up to the surgery once the hernia appeared, and the hernia was mostly caused by year upon year of shouting in GODFLESH. The album was mixed post-surgery, and while I was still in some pain and considerable discomfort, but fortunately GODFLESH is generally me expressing my pain, albeit [usually] mental, philosophical and existential, whereas this was physical pain.”
While the middle of the record pulses with five-minute hate-grooves, Broadrick credits the slime-wracked opener “Master and Slave” and crawling closer “Consume Me” with Decay’s true conceptual thrust. “The bookends of Decay are the most important pieces to me. They say it all, so to speak; the album could have been just those two songs alone – the duration of them is half of the total album!”
As GODFLESH's active tenure comes to a close, Broadrick expresses gratitude that it was ever his vessel to use as he willed. “It expresses my pain, and I’ve put my body and soul into this expression for the majority of my existence. I feel quite lucky, because Godflesh is now physically impossible for me, rendering it useless. I now wish to move out of its constraints, move on creatively with heavy/ugly music to new ground.”
Récits Patriotiques captures FORTERESSE in their rawest form: a rehearsal recording, originally made in preparation for Messe des Morts. Previously available only on CD, this intense snapshot of Québec black metal history now appears on vinyl for the very first time.
Black Vinyl
FLUISTERAARS return with their sixth full-length, Jacht der Mysteriën — three towering epics centered around the pursuit of the unknown.
Drawing from local legends, mysterious lights in the woods, and close observation of their immediate surroundings, the album was conceived as a live and complete band album and captured in a single take with longtime producer T. Cochrane.
Reamped through the hollow cylinder of an abandoned water tower, the record drifts between presence and disappearance — immersive, urgent, and elusive.
Luminal Blue Smoke
FLUISTERAARS return with their sixth full-length, Jacht der Mysteriën — three towering epics centered around the pursuit of the unknown.
Drawing from local legends, mysterious lights in the woods, and close observation of their immediate surroundings, the album was conceived as a live and complete band album and captured in a single take with longtime producer T. Cochrane.
Reamped through the hollow cylinder of an abandoned water tower, the record drifts between presence and disappearance — immersive, urgent, and elusive.
FLUISTERAARS return with their sixth full-length, Jacht der Mysteriën — three towering epics centered around the pursuit of the unknown.
Drawing from local legends, mysterious lights in the woods, and close observation of their immediate surroundings, the album was conceived as a live and complete band album and captured in a single take with longtime producer T. Cochrane.
Reamped through the hollow cylinder of an abandoned water tower, the record drifts between presence and disappearance — immersive, urgent, and elusive.
Limited Edition Blue Marble Vinyl
Born in Ireland's 'rebel county', Cork, in 2013, Soothsayer have built a formidable reputation, not only within the extreme metal community of the Emerald Isle, but wherever powerful, uncompromising and emotive music is treasured and held dear. After two EPs (The Soothsayer and At This Great Depth), a live album (Soothsayer Live In Malta MMXIX) and a split release with compatriots Partolón, 2021 finally saw the release of Soothsayer's full length debut album, Echoes Of The Earth. Praising the album for its ability to successfully meld “the monolithic sounds of doom with sludge, death metal and hefty doses of atmosphere”, Distorted Sound Magazine declared that Echoes Of The Earth had been “well worth the eight-year wait”. Now the time has come for Soothsayer to unveil their second album, one which builds upon the foundations laid down by Echoes Of The Earth and all that came before it, an album that absorbs and enthrals from its first note, holding you in its grasp until the very last…The Unbinding.
Opening in an irresistible shock of venom and velocity, 'Eroding The Sky' sweeps the unwary listener into Soothsayer's most compelling creation to date. Bleakly beautiful, haunted and dangerous, The Unbinding unfurls through the unpredictable power and pulsing malice of 'Sooner Acceptance', into the sombre procession of 'Endless Shesha' with its shifting movements and dark heartbeat, on to 'The Vine', a march through wind, rain and shadow, sadness and wickedness. The magnificent drumming, the colossal underpinning weight of the bass, the multifaceted guitars - fury, majesty, might and terrible sadness - and the incredible vocal performances, so wrought with raging emotion and touched by madness…each member of Soothsayer has delivered performances that lift The Unbinding to new, breathtaking levels. Final track, 'A Vague Shimmer' is perhaps the album's crowning glory, a song that captures the essence of Soothsayer, binds them to their homeland and history and engulfs the listener in momentous melancholy as it whispers of the passing of an age.
With every note imbued with resonance and portent at Last Light Recordings in Dublin (Coscradh, Diocletian, Dread Sovereign etc), The Unbinding is a living entity, rife with ghosts and memories, that has the potential to offer a different experience with every immersion in its cold waters. It will be offered up by Apocalyptic Witchcraft on July 3rd, on limited edition vinyl, digipak CD. Do not let it pass you by unheard, unexplored, unlived.
Born in Ireland's 'rebel county', Cork, in 2013, Soothsayer have built a formidable reputation, not only within the extreme metal community of the Emerald Isle, but wherever powerful, uncompromising and emotive music is treasured and held dear. After two EPs (The Soothsayer and At This Great Depth), a live album (Soothsayer Live In Malta MMXIX) and a split release with compatriots Partolón, 2021 finally saw the release of Soothsayer's full length debut album, Echoes Of The Earth. Praising the album for its ability to successfully meld “the monolithic sounds of doom with sludge, death metal and hefty doses of atmosphere”, Distorted Sound Magazine declared that Echoes Of The Earth had been “well worth the eight-year wait”. Now the time has come for Soothsayer to unveil their second album, one which builds upon the foundations laid down by Echoes Of The Earth and all that came before it, an album that absorbs and enthrals from its first note, holding you in its grasp until the very last…The Unbinding.
Opening in an irresistible shock of venom and velocity, 'Eroding The Sky' sweeps the unwary listener into Soothsayer's most compelling creation to date. Bleakly beautiful, haunted and dangerous, The Unbinding unfurls through the unpredictable power and pulsing malice of 'Sooner Acceptance', into the sombre procession of 'Endless Shesha' with its shifting movements and dark heartbeat, on to 'The Vine', a march through wind, rain and shadow, sadness and wickedness. The magnificent drumming, the colossal underpinning weight of the bass, the multifaceted guitars - fury, majesty, might and terrible sadness - and the incredible vocal performances, so wrought with raging emotion and touched by madness…each member of Soothsayer has delivered performances that lift The Unbinding to new, breathtaking levels. Final track, 'A Vague Shimmer' is perhaps the album's crowning glory, a song that captures the essence of Soothsayer, binds them to their homeland and history and engulfs the listener in momentous melancholy as it whispers of the passing of an age.
With every note imbued with resonance and portent at Last Light Recordings in Dublin (Coscradh, Diocletian, Dread Sovereign etc), The Unbinding is a living entity, rife with ghosts and memories, that has the potential to offer a different experience with every immersion in its cold waters. It will be offered up by Apocalyptic Witchcraft on July 3rd, on limited edition vinyl, digipak CD. Do not let it pass you by unheard, unexplored, unlived.
Skuggor, the solo project of M., an Australian multi-instrumentalist based in northern Sweden, draws its essence from the meeting point between the physical and the transcendental. Deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold. On “The Expanse”, this duality comes into sharp focus: the beauty of the northern landscape set against an undercurrent of solitude and quiet desolation.
The foundation was laid somewhere along the long, winding road between M.’s home in Moskosel and the Nordvis headquarters in Arvidsjaur – a woodland stretch largely untouched by modern intrusions. Written to accompany that journey, “The Expanse” takes shape as a series of impressions formed by both the beauty and the unforgiving nature of the environment. While echoes of Burzum, Agalloch, Urfaust, and Drudkh can be sensed throughout, Skuggor reshapes these influences into something distinctly its own.
Musically, the album moves between organic synthesiser passages and harsh, fuzz-laden guitars, with vocals that feel improvised and immediate – less bound to language than to emotion. The result is fluid and instinctive, allowing each composition to emerge as a natural extension of atmosphere rather than rigid structure. Minimalism here is mainly expressed through restraint: repetition, pacing, and subtle shifts that draw the listener deeper into the sound.