Preorders

SAOR is Andy Marshall's one-man vehicle for what he calls Caledonian Metal: an atmospheric black metal sound built from Highland landscapes and Scottish ancestral memory. Since founding the project in Glasgow in 2013, Marshall has grown SAOR from a cult curiosity into one of the genre's most distinctive voices.
‘Caledonia’ gathers five songs first heard on ‘Roots’, ‘Aura’ and ‘Guardians’ and rebuilds them from the ground up, produced by Chris Fielding. This isn't a remaster or a victory lap. Marshall wrote these songs before he had the resources or the mileage to realise them fully, and over a decade of touring has reshaped how they live and breathe on stage. The album opens with "Aura MMXXVI", a hushed procession through forests and corries that sets the record's terms early: patience, scale, and a reverence for landscape that never tips into pastiche. "The Awakening MMXXVI" answers with something more urgent, a call to old ways and older gods dressed in Marshall's most direct lyric writing on the record, the kind of song built to be shouted back at a festival crowd. "Carved in Stone MMXXVI", the album's centrepiece and lead single, carries the clearest sense of destiny and prophecy in the track list, its widescreen production giving the song's ancestral imagery real physical weight. "Hearth MMXXVI" turns inward, trading myth for something closer to memory, a meditation on home and belonging that grounds the record before its close. "Tears of a Nation MMXXVI" ends the album on its most elegiac note, mourning loss and ruin in a way that feels earned rather than performed, closing the circle the record opened with.
Guest contributions from strings, whistle, pipes and additional vocals widen the textures throughout without diluting the atmosphere, and the sequencing across all five songs traces a clear arc from landscape to legend to loss.

SAOR is Andy Marshall's one-man vehicle for what he calls Caledonian Metal: an atmospheric black metal sound built from Highland landscapes and Scottish ancestral memory. Since founding the project in Glasgow in 2013, Marshall has grown SAOR from a cult curiosity into one of the genre's most distinctive voices.
‘Caledonia’ gathers five songs first heard on ‘Roots’, ‘Aura’ and ‘Guardians’ and rebuilds them from the ground up, produced by Chris Fielding. This isn't a remaster or a victory lap. Marshall wrote these songs before he had the resources or the mileage to realise them fully, and over a decade of touring has reshaped how they live and breathe on stage. The album opens with "Aura MMXXVI", a hushed procession through forests and corries that sets the record's terms early: patience, scale, and a reverence for landscape that never tips into pastiche. "The Awakening MMXXVI" answers with something more urgent, a call to old ways and older gods dressed in Marshall's most direct lyric writing on the record, the kind of song built to be shouted back at a festival crowd. "Carved in Stone MMXXVI", the album's centrepiece and lead single, carries the clearest sense of destiny and prophecy in the track list, its widescreen production giving the song's ancestral imagery real physical weight. "Hearth MMXXVI" turns inward, trading myth for something closer to memory, a meditation on home and belonging that grounds the record before its close. "Tears of a Nation MMXXVI" ends the album on its most elegiac note, mourning loss and ruin in a way that feels earned rather than performed, closing the circle the record opened with.
Guest contributions from strings, whistle, pipes and additional vocals widen the textures throughout without diluting the atmosphere, and the sequencing across all five songs traces a clear arc from landscape to legend to loss.

Print on demad: PLEASE state your size in the order's notes:  

S - M - L - XL

After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a black metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten.

In the mid ‘00s JANVS released two of the most personal and interesting black metal records ever to come out of Italy, Fulgures (2007) and Vega (2008), mixing excellent songwriting to a profound latin cultural heritage. A few years later the band re-recorded and officially released their early songs in Nigredo (2014) before disappearing into the waves of the Mediterranean sea. We were incredibly excited when composer and multi-instrumentalist Matteo “Vinctor” Barelli told us the band was working on new music once again. JANVS lineup is once again completed by Massimo "m:A Fog" Altomare on drums and Claudio "Malphas" Fogliato on bass, and the trio is ready to release the new EP Fatum Est.

In their own word, in Fatum Est, each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.

This work is dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose. Moving forward from the softer atmospheres of Vega, expect intensity and desperate cosmic ferocity.

Back in 2021, Blodtår announced themselves with a self-titled EP steeped in black metal mysticism. The following full-length, “Det förtegna förflutna” (2023), revealed a project capable of refined structure and melodic discipline without sacrificing intensity. Now, on their third release, the Stockholm-based duo ventures deeper still.

Where earlier works balanced woodland atmosphere with icy composure, “Monark” is driven by something more volatile. Conceived in the aftermath of a personal tragedy, the album took shape with uncompromising urgency. The opening track, “Blodtår”, emerged directly from that moment, setting the tone for a work which moves through overwhelming spiritual pain toward a fragile yet undeniable light.

Musically, the folk-infused melodic language remains central – particularly across the first half – but now intertwines with passages evoking older, more archaic currents reminiscent of early Enslaved and Falkenbach. Norse-tinged motifs surface alongside the band’s established Scandinavian melancholy, while the latter half explores tonal shifts that feel brighter, though never unscarred. Beginning in darkness and concluding in illumination, “Monark” traces recurring cycles of mental collapse and resurgence with unflinching honesty.

Gold marbled LP.

Naglfar's debut album Vittra from 1995 is an absolute essential album when it comes to melodic black metal bands.

The 2026 LP edition comes in various vinyl colors and in a gatefold cover.

Grey/white swirl vinyl limited to 300 copies

Hailing from western Norway and Sweden, MØRKGRIM is a Norwegian/Swedish Folk-Black Metal entity devoted to occult heathen Norse traditions and the darker currents of the old ways. The debut, a concept album, is entitled "Sogur frá Norðfirði" (means "Tales from Nordfjord").
MØRKGRIM was founded in 1994 by Hrafngrímnir as a one-man Black Metal project during the golden years of the genre. Several songs were written in the early days, but never recorded, as Hrafngrímnir was active in other Black Metal bands at the time.
By 1999, he began to leave the Black Metal scene behind, feeling that the genre was losing its true soul and becoming something detached from its original spirit. He moved into other forms of music, still the old darkness never left him.
Decades later, Hrafngrímnir decided to awaken MØRKGRIM, but only if it could be done with the right spirit. He moved to a remote farm, far from modern comfort, where he still lives without ordinary modern utilities such as a flushing toilet or municipal water. There, surrounded by raw nature, silence and isolation, the first MØRKGRIM album was written and recorded. It is a tribute to raw nature, the old gods, ancient Norse magick, and the Old Ways, not as image, but as a way of life.
In 2023, Nils “Dominator” Fjellström joined MØRKGRIM. Known for his work with Dark Funeral, Aeon, In Battle, The Wretched End, Myrkskog and Nordjevel, his drumming brought a new level of violence and precision to the project.
Forged in isolation and rooted in the spirit of the early 90s, MØRKGRIM is Black Metal returned to its source with a blend of raw oldschool aggression and immersive acoustic folk/norse elements.

Hailing from western Norway and Sweden, MØRKGRIM is a Norwegian/Swedish Folk-Black Metal entity devoted to occult heathen Norse traditions and the darker currents of the old ways. The debut, a concept album, is entitled "Sogur frá Norðfirði" (means "Tales from Nordfjord").
MØRKGRIM was founded in 1994 by Hrafngrímnir as a one-man Black Metal project during the golden years of the genre. Several songs were written in the early days, but never recorded, as Hrafngrímnir was active in other Black Metal bands at the time.
By 1999, he began to leave the Black Metal scene behind, feeling that the genre was losing its true soul and becoming something detached from its original spirit. He moved into other forms of music, still the old darkness never left him.
Decades later, Hrafngrímnir decided to awaken MØRKGRIM, but only if it could be done with the right spirit. He moved to a remote farm, far from modern comfort, where he still lives without ordinary modern utilities such as a flushing toilet or municipal water. There, surrounded by raw nature, silence and isolation, the first MØRKGRIM album was written and recorded. It is a tribute to raw nature, the old gods, ancient Norse magick, and the Old Ways, not as image, but as a way of life.
In 2023, Nils “Dominator” Fjellström joined MØRKGRIM. Known for his work with Dark Funeral, Aeon, In Battle, The Wretched End, Myrkskog and Nordjevel, his drumming brought a new level of violence and precision to the project.
Forged in isolation and rooted in the spirit of the early 90s, MØRKGRIM is Black Metal returned to its source with a blend of raw oldschool aggression and immersive acoustic folk/norse elements.

Hailing from western Norway and Sweden, MØRKGRIM is a Norwegian/Swedish Folk-Black Metal entity devoted to occult heathen Norse traditions and the darker currents of the old ways. The debut, a concept album, is entitled "Sogur frá Norðfirði" (means "Tales from Nordfjord").
MØRKGRIM was founded in 1994 by Hrafngrímnir as a one-man Black Metal project during the golden years of the genre. Several songs were written in the early days, but never recorded, as Hrafngrímnir was active in other Black Metal bands at the time.
By 1999, he began to leave the Black Metal scene behind, feeling that the genre was losing its true soul and becoming something detached from its original spirit. He moved into other forms of music, still the old darkness never left him.
Decades later, Hrafngrímnir decided to awaken MØRKGRIM, but only if it could be done with the right spirit. He moved to a remote farm, far from modern comfort, where he still lives without ordinary modern utilities such as a flushing toilet or municipal water. There, surrounded by raw nature, silence and isolation, the first MØRKGRIM album was written and recorded. It is a tribute to raw nature, the old gods, ancient Norse magick, and the Old Ways, not as image, but as a way of life.
In 2023, Nils “Dominator” Fjellström joined MØRKGRIM. Known for his work with Dark Funeral, Aeon, In Battle, The Wretched End, Myrkskog and Nordjevel, his drumming brought a new level of violence and precision to the project.
Forged in isolation and rooted in the spirit of the early 90s, MØRKGRIM is Black Metal returned to its source with a blend of raw oldschool aggression and immersive acoustic folk/norse elements.

Limited edition transp. orange-black marbled vinyl & LP booklet

Heretics of the Black Metal genre and the Kings of USBM, WOLVES IN THE THRONE ROOM have returned with sharpened teeth. Their new album “Estuary” carries the hallmark of their unyielding dedication to the physical craft and analog production techniques, executed with zero cut corners. After more than twenty years, the pioneers of Cascadian Black Metal have neither withered, rested, nor resorted to recycling past glories. They continue to rise with unparalleled strength, and “Estuary” is their most ferocious and genre-bending record to date.
WOLVES IN THE THRONE ROOM embody nature as active participants of the current, bypassing the confines of a musical landscape which trends towards homogenization. Massive percussion and seething gothic guitars wipe the listener’s psyche clear of all stagnation, transforming it into a conduit for evolution and renewal. Rich with alchemical and archetypal imagery, the record operates like eagles and wolves descending upon desolation and entropy, activating the dormant domain with magic and the lethal essence of virility.
The bulk of the album was produced and recorded at the band’s own Owl Lodge studio in Olympia, Washington, with drums tracked by Nicholas Wilbur at The Unknown (a converted former church in Anacortes, Washington).

Limited edition CD Mediabook with a 32p booklet

Heretics of the Black Metal genre and the Kings of USBM, WOLVES IN THE THRONE ROOM have returned with sharpened teeth. Their new album “Estuary” carries the hallmark of their unyielding dedication to the physical craft and analog production techniques, executed with zero cut corners. After more than twenty years, the pioneers of Cascadian Black Metal have neither withered, rested, nor resorted to recycling past glories. They continue to rise with unparalleled strength, and “Estuary” is their most ferocious and genre-bending record to date.
WOLVES IN THE THRONE ROOM embody nature as active participants of the current, bypassing the confines of a musical landscape which trends towards homogenization. Massive percussion and seething gothic guitars wipe the listener’s psyche clear of all stagnation, transforming it into a conduit for evolution and renewal. Rich with alchemical and archetypal imagery, the record operates like eagles and wolves descending upon desolation and entropy, activating the dormant domain with magic and the lethal essence of virility.
The bulk of the album was produced and recorded at the band’s own Owl Lodge studio in Olympia, Washington, with drums tracked by Nicholas Wilbur at The Unknown (a converted former church in Anacortes, Washington).

Solid silver and black LP limited to 450 copies.

"Originally released in a limited edition of 200 hand-numbered copies in February 2009, this hidden gem is now available to a wider audience. Featuring re-recorded drum parts and a bonus track, the definitive version of this self-titled debut album by DER WEG EINER FREIHEIT showcases the immense talent of the German trio."

"Originally released in a limited edition of 200 hand-numbered copies in February 2009, this hidden gem is now available to a wider audience. Featuring re-recorded drum parts and a bonus track, the definitive version of this self-titled debut album by DER WEG EINER FREIHEIT showcases the immense talent of the German trio."