Vinyl

250 x galaxy milky clear black vinyl

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Often mistakenly considered a second demo tape, Where the Snows are Never Gone…, conceived and released in 1997, is OLD WAINDS’ first full-length album. The eight songs whose titles and lyrics apart from the opener are all written in Cyrillic show the band at their most barbaric and unhinged. Musically following in the footsteps of early Norwegian classics, the material sees these mad savages annihilating everything in their way. Those inhuman vocals must also rank among the most insane and hate-filled ever.

250 x galaxy red black vinyl

Grim, barbaric, ice-cold blackness from beyond the Arctic Circle.

Murmansk is a Russian city situated north of the Arctic Circle near the Norwegian and Finnish borders. It’s not only notorious for its extremely harsh and long winters but also for being home to one of Russia’s oldest and most significant Black Metal bands – OLD WAINDS.
Arisen from the icy plains in 1995, founder Morok aided by a variety of members throughout the horde’s 30 years of existence managed to produce a remarkable discography. Unaffected by fleeting fashion and with disregard for public exposure three demos, one split album with NAV and five full length albums filled to the brim with barbaric hymns of no-nonsense Black Metal were up to this point spawned under the banner of OLD WAINDS.

Hot on the heels of OLD WAINDS’ latest album Stormheart on Darkness Shall Rise we are extremely thrilled to hereby present long overdue reissues of some glorious titles of their early catalogue.

Where the Snows are Never Gone… was followed by a 2nd demo before Religion of Spiritual Violence would be unleashed upon the unworthy masses in 2002. Comprising of titles and lyrics entirely in Cyrillic their second album is undoubtedly several steps up in terms of song-writing and production. By and large continuing the trajectory of their previous efforts, OLD WAINDS on Where the Snows are Never Gone… present material more refined and versatile while still retaining the barbaric edge of its predecessors.

black vinyl version, brand new and unplayed BUT arrived from supplier with a very very small seamsplit on top of the gatefold (like 2 cm)

For the first time, these 5 tapes (Ash Nazg …, lux devicta est, promo tape 2/94, Moonrise and In Hate & Sin)  are compiled as a stand-alone 2LP / 2CD album, accompanied by extensive photo material and an in-depth interview, covering the period from the formative 1980s, over the conditions leading to the establishment of the band, up to the days when a deal for their debut Verwüstung/Invoke The Dark Age was signed.

The direct and unveiled nature of these recordings invites the listener to travel back in time, step into ABIGOR´s rehearsal cellar and experience the raw, youthful energy which shows a different side of the band than the successive recordings at Hörnix Studio.

The pressing and print quality make this double-album the ultimate memorial to the reckless bygone days not only of ABIGOR but also of Black Metal as a whole.
On 48 A5 pages respectively, the circumstances around each demo are treated individually.

After more than 30 years, the hands-on experiments of those simple, analogue times still work their magic!

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

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After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

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"Eight years after 'Eonian', DIMMU BORGIR returns with 'Grand Serpent Rising', a thirteen-track album that is both relentless and remarkably diverse. The title itself symbolizes renewal: for the band, the serpent represents transformation, knowledge, and liberation—a necessary shedding after more than thirty years in the industry. From the introduction 'Tridentium' to the explosive 'Ascent', the band confirms that it has lost none of its intensity or aura. Over nearly an hour of music, the album showcases majestic power, blending the raw energy of 90s Norwegian black metal with the mastery gained over the decades. With 'Grand Serpent Rising', DIMMU BORGIR delivers an imposing and ambitious work, driven by an intact inspiration and a vision more grandiose than ever."

UK thrash legends Acid Reign return with their highly anticipated new album, Daze Of The Week, releasing on May 15, 2026, via Back On Black Records. Produced by Jayce Lewis, the album features ten tracks promising catchy choruses and high-speed thrash, following their 2019 release

Despite being called from the grave at a time when Black Metal from Norway suddenly gained worldwide popularity, MALFEITOR always remained an obscure entity. When some of their compatriots signed record deals with international labels, the horde from Askim deliberately acted from within the deepest underground. With a short lifespan of only 2 years, the output produced by MALFEITOR is naturally rather meagre. The releases spawned between 1991 and 1992 only consist of 1 rehearsal- and 2 demo tapes and were back in the day only spread on home-dubbed tapes in very limited quantities. Devoted to Black Metal of the rather stripped-down, minimalist style similar to early BATHORY, ILDJARN or DARKTHRONE, MALFEITOR had the potential to release a great first full-length. Unfortunately, this wasn’t destined to happen since shortly after the release of the very promising second demo Pandemonium MALFEITOR returned to the shadows from which it was conjured. The member’s contribution to Black Metal wouldn`t end with the demise of MALFEITOR, though since out of the ashes STRID and MANES (featuring Vicotnik from DØDHEIMSGARD) rose.

Despite being called from the grave at a time when Black Metal from Norway suddenly gained worldwide popularity, MALFEITOR always remained an obscure entity. When some of their compatriots signed record deals with international labels, the horde from Askim deliberately acted from within the deepest underground. With a short lifespan of only 2 years, the output produced by MALFEITOR is naturally rather meagre. The releases spawned between 1991 and 1992 only consist of 1 rehearsal- and 2 demo tapes and were back in the day only spread on home-dubbed tapes in very limited quantities. Devoted to Black Metal of the rather stripped-down, minimalist style similar to early BATHORY, ILDJARN or DARKTHRONE, MALFEITOR had the potential to release a great first full-length. Unfortunately, this wasn’t destined to happen since shortly after the release of the very promising second demo Pandemonium MALFEITOR returned to the shadows from which it was conjured. The member’s contribution to Black Metal wouldn`t end with the demise of MALFEITOR, though since out of the ashes STRID and MANES (featuring Vicotnik from DØDHEIMSGARD) rose.