Preorders

A 2023 official release of the cult classic primitive Norwegian black metal recorded in 1992, featuring Dimmu Borgir’s Shagrath. 

The sole release by Fimbulwinter, this edition includes additional tracks and presented on CD format including 16 page booklet.

Fimbulwinter, though short-lived, created a sole cult release in the form of 1994’s ‘Servants of Sorcery’, which emerged as the “second wave” of Norwegian black metal was truly taking hold. The band was formed in Oslo 1992, led by the notable figure of Shagrath, becoming most known afterwards as mainman for the phenomenon that was Dimmu Borgir. A more raw affair than the symphonic majesty of Dimmu Borgir, Fimbulwinter demonstrated a primal and fierce black metal attack, and concocted a perfect example of the early-90s style, with an extra injection of praise to bands of the 80s.

Even though ‘Servants of Sorcery’ as a release didn’t see the light of day until 1994, the tracks themselves were recorded back in the winter of 1992, and so stand as an essential and influential early example of what was to form a whole new chapter in metal history. Joining Shagrath was Skoll (Ved Buens Ende, Ulver, Arcturus) on bass, with the line-up completed by Necronos & Orbweaver.

This edition of ‘Servants of Sorcery’ - a title consistently requested by fans for a proper reissue for many years - notably includes material plus additional songs sourced and transferred from the band’s own tape collection (with work overseen by Shagrath himself), to present this most complete and comprehensive edition of Fimbulwinter’s work and legacy. Alongside Fimbulwinter’s own original material of spellbinding lo-fi grim chaos are storming cover versions of ‘Morbid Tales’ by Celtic Frost (which featured on the original ‘Servants of Sorcery’ release), plus ‘The Watchtower’ by Darkthrone, which is now included for the first time.

 WHITE/SILVER MARBLE VINYL - LP

Special preorder promo price! After 15/10 price will be increased and set to 22.00€

After four years of waiting, Aeon Winds are back with their new album Night Sky Illuminations. Their third full-length studio album, it follows up the themes the band dealt with in their previous album Stormveiled (2019) and the EP Extinguishing the Light (2022).

The mythological legacy of pre-Christian times intertwines with the mystical fascination of Carpathian sceneries and blends into seven long, hymnic and powerful songs.

Recorded, mastered and produced at Tryzna Studio, Aeon Winds new studio album features a painting by Russian digital illustrator Yaroslav Gerzhedovich, and will be released on CD, LP and digital November 17th, 2023 via Avantgarde Music.

Special preorder promo price! After 15/10 price will be increased and set to 13€

After four years of waiting, Aeon Winds are back with their new album Night Sky Illuminations. Their third full-length studio album, it follows up the themes the band dealt with in their previous album Stormveiled (2019) and the EP Extinguishing the Light (2022).

The mythological legacy of pre-Christian times intertwines with the mystical fascination of Carpathian sceneries and blends into seven long, hymnic and powerful songs.

Recorded, mastered and produced at Tryzna Studio, Aeon Winds new studio album features a painting by Russian digital illustrator Yaroslav Gerzhedovich, and will be released on CD, LP and digital November 17th, 2023 via Avantgarde Music.

American bestial death metal berserker Invultation returns with its second full-length abomination Feral Legion, a thirty seven-minute siege of inescapable black/death ruin whose ominous nature and intents are already clear and evident from the album title alone. Indeed, Feral Legion takes us forward, or back, to a time once evoked by Einstein in his (supposed) famous words "I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones". A time in which humanity's prolonged obsession for power through dominance has reduced the world to a lightless and inhuman prehistoric dark age where primeval animalistic instincts of survival and a complete lack of sanity are the only "logic" reigning. The music marvelously encapsulates this concept unfolding ten dehumanizing, life-scourging slabs of pure shellshock and complete sonic armageddon derived from the immortal legacy of black/death war cults like Blasphemy, Bestial Warlust and Angelcorpse. And while that is the premise and starting point, the means by which Invultation accomplishes its conquest is quite unprecedented for the standards of bestial extreme metal. The "chaos-for-chaos-sake" approach the genre has widely been known for is ignored in favor a hyper-realistic, (technical) death metal-derived approach with a crystalline production that exposes and exalts every moving part in the record, revealing an entity working within an evolved and sophisticated technical and compositional framework in which absolute destruction is achieved solely via the raw tonnage of the riffs and by the superb quality of the performative skill being wielded and weaponized to achieve its conquest of absolute bedlam.

American bestial death metal berserker Invultation returns with its second full-length abomination Feral Legion, a thirty seven-minute siege of inescapable black/death ruin whose ominous nature and intents are already clear and evident from the album title alone. Indeed, Feral Legion takes us forward, or back, to a time once evoked by Einstein in his (supposed) famous words "I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones". A time in which humanity's prolonged obsession for power through dominance has reduced the world to a lightless and inhuman prehistoric dark age where primeval animalistic instincts of survival and a complete lack of sanity are the only "logic" reigning. The music marvelously encapsulates this concept unfolding ten dehumanizing, life-scourging slabs of pure shellshock and complete sonic armageddon derived from the immortal legacy of black/death war cults like Blasphemy, Bestial Warlust and Angelcorpse. And while that is the premise and starting point, the means by which Invultation accomplishes its conquest is quite unprecedented for the standards of bestial extreme metal. The "chaos-for-chaos-sake" approach the genre has widely been known for is ignored in favor a hyper-realistic, (technical) death metal-derived approach with a crystalline production that exposes and exalts every moving part in the record, revealing an entity working within an evolved and sophisticated technical and compositional framework in which absolute destruction is achieved solely via the raw tonnage of the riffs and by the superb quality of the performative skill being wielded and weaponized to achieve its conquest of absolute bedlam.

• Epic and monolithic isolationist black metal from accomplished one-man heavy music project

• For fans of Wolves In The Throne Room, Thou, Bell Witch, Primitive Man, Yob, Indian, and Burning Witch

• Epic and monolithic isolationist black metal from accomplished one-man heavy music project

• For fans of Wolves In The Throne Room, Thou, Bell Witch, Primitive Man, Yob, Indian, and Burning Witch

Whilst admiration of the US American masters is unquestionable, Ageless Summoning display a jaw-dropping level of originality in their approach to the sub-genre. “Our goal has never been to just imitate what has come before, but we’re not trying to hide our influences either. We include plenty of deliberate references, but we’re also trying to develop our sound and continue the exploration of vast and desolate otherworlds.”

Featuring members of such long-running U.K. acts as Of Spire & Throne, Haar, Úir, Scordatura, and Abyssal, the band has several combined decades of desecration under their belts. Wrapped in one of the most stunning and sinister Paolo Girardi artworks in recent memory, Corrupting The Entempled Plane is not to be missed.

Whilst admiration of the US American masters is unquestionable, Ageless Summoning display a jaw-dropping level of originality in their approach to the sub-genre. “Our goal has never been to just imitate what has come before, but we’re not trying to hide our influences either. We include plenty of deliberate references, but we’re also trying to develop our sound and continue the exploration of vast and desolate otherworlds.”

Featuring members of such long-running U.K. acts as Of Spire & Throne, Haar, Úir, Scordatura, and Abyssal, the band has several combined decades of desecration under their belts. Wrapped in one of the most stunning and sinister Paolo Girardi artworks in recent memory, Corrupting The Entempled Plane is not to be missed.

Pure sonic annihilation reaches its pinnacle and inevitable sublimation on Disimperium's debut full-length album Grand Insurgence Upon Despotic Altars. As the debut 2021 7" Malefic Obliteration had already hinted at, human ears will fall prey yet again to an entity whose quest for total sensorial destruction has now reached implausible and horrific extremes, far beyond the confines of sanity which had already been obliterated on the inaugural release. In its nine tracks and thirty two minutes of pure concentrated terror, Grand Insurgence Upon Despotic Altars discharges an inescapable payload of death that impacts the listener with the force and speed of an apocalyptic shockwave escaping the fireball of a nuclear warhead. An onslaught of carpet bombing drums, bass, guitars and contorted vocals dissolving the lines between sanity and pure chaos establishes a permanent and incessant state of absolute armageddon, while a maelstrom of malefic atmospheres and apocalyptic darkness enshrouds the assault transforming the work into a weaponized, hallucinogenic, otherworldly burden of total terror. Where bands like Diocletian, Impetuous Ritual, Tetragrammacide, Knelt Rote and Damaar had already tested and established the limits of human resistance against abstract ideas of omnipotent negativity and horizonless sonic bedlam, Disimperium explore these outer limits even further, venturing out and establishing a new era into which there is no more measure to the very definition of musical insanity sought and achieved for the sole sake of aggression.

Pure sonic annihilation reaches its pinnacle and inevitable sublimation on Disimperium's debut full-length album Grand Insurgence Upon Despotic Altars. As the debut 2021 7" Malefic Obliteration had already hinted at, human ears will fall prey yet again to an entity whose quest for total sensorial destruction has now reached implausible and horrific extremes, far beyond the confines of sanity which had already been obliterated on the inaugural release. In its nine tracks and thirty two minutes of pure concentrated terror, Grand Insurgence Upon Despotic Altars discharges an inescapable payload of death that impacts the listener with the force and speed of an apocalyptic shockwave escaping the fireball of a nuclear warhead. An onslaught of carpet bombing drums, bass, guitars and contorted vocals dissolving the lines between sanity and pure chaos establishes a permanent and incessant state of absolute armageddon, while a maelstrom of malefic atmospheres and apocalyptic darkness enshrouds the assault transforming the work into a weaponized, hallucinogenic, otherworldly burden of total terror. Where bands like Diocletian, Impetuous Ritual, Tetragrammacide, Knelt Rote and Damaar had already tested and established the limits of human resistance against abstract ideas of omnipotent negativity and horizonless sonic bedlam, Disimperium explore these outer limits even further, venturing out and establishing a new era into which there is no more measure to the very definition of musical insanity sought and achieved for the sole sake of aggression.