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Preorder items - Extreme Metal and Dark music
Released one year after their demo Black Seared Heart, it was First Spell that put GEHENNA on the map for real.
Originally released in 1994 by Metalion`s legendary label ‘Head Not Found’, the EP shows a band – even though only founded 1 year prior – already on top of their game. Each of the 5 tracks is a masterpiece in its own right. “The Shivering Voice Of The Ghost” or “Unearthly Loose Palace” – can it get more sombre than that?
Macabre and utterly dark, the highly original and memorable tracks are considerably enhanced by keyboardplayer extraordinaire Sarcana.
First Spell is one of the very best EPs ever done in Norway and belongs in every self-respecting Black Metal fan`s collection.
The songs were completely new remastered by Patrick W. Engel at the Temple of Disharmony to ensure the best possible sound for this timeless Black Metal classic.
Luxurious hardcover digibook-CD.
It contains the new interview and many never before-seen pictures spread over a 28 pages booklet.
Seen Through The Veils Of Darkness (2nd Spell) is GEHENNA`s first full-length album which was originally released in 1995.
They kept their characteristic sound intact, yet stepped each and every element of their sound up a notch or two. The highly melodic sound which has over the years become one of the band`s trademarks, presents itself refined with subtle details.
For the first time, GEHENNA dare to incorporate fast-paced passages into their songs too.
Considering the high compositional level of the album, one is simply awe-struck by the band`s enormous development within only 2 years since GEHENNA`s inception.
Seen Through The Veils Of Darkness (2nd Spell) is a symphonic Black Metal masterpiece and a highlight of the genre.
The songs were completely new remastered by Patrick W. Engel at the Temple of Disharmony to ensure the best possible sound for this timeless Black Metal classic.
Luxurious hardcover digibook-CD.
It contains the new interview and many never before-seen pictures spread over a 28 pages booklet.
"Unholy", 8 Blistering Tracks featuring guest appearances by:
Ron Kachnic (Malignancy) on track 1.
Devin Swank (Sangusugabogg, Bludgeoned by Deformity), on track 3.
Doug Cerrito (Suffocation/Hate Eternal) on track 4.
"Unholy", 8 Blistering Tracks featuring guest appearances by:
Ron Kachnic (Malignancy) on track 1.
Devin Swank (Sangusugabogg, Bludgeoned by Deformity), on track 3.
Doug Cerrito (Suffocation/Hate Eternal) on track 4.
Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.
Written and performed entirely by Julinko, ‘Naebula’‘s incantations unravel and spiral creating the perfect soundtrack for obsession, desire and contemplation, a world inhabited by greats like Meredith Monk, Diamanda Galás and Jarboe, diverse artists all driven by the quest for the purest and most crystalline form of catharsis.
Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.
Written and performed entirely by Julinko, ‘Naebula’‘s incantations unravel and spiral creating the perfect soundtrack for obsession, desire and contemplation, a world inhabited by greats like Meredith Monk, Diamanda Galás and Jarboe, diverse artists all driven by the quest for the purest and most crystalline form of catharsis.
Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.
Written and performed entirely by Julinko, ‘Naebula’‘s incantations unravel and spiral creating the perfect soundtrack for obsession, desire and contemplation, a world inhabited by greats like Meredith Monk, Diamanda Galás and Jarboe, diverse artists all driven by the quest for the purest and most crystalline form of catharsis.
