Vinyl

"Rêverie" isn't about bombast; it's about carefully constructed sonic landscapes built on intriguing juxtapositions. The band deftly blends the weight of post-metal and doom with the expansive textures of post-rock. Expect hypnotic, cyclical riffs that can feel almost obsessive, only to gracefully give way to delicate, dreamlike ambient passages.

“Back to Hermetics and Martial Arts Vol. 1” is an epic adventure through the invisible worlds of Neoplatonic cinema. From mockumentaries about the lost books of occult correspondences, through psychedelic surf noir chambers with ritual suppers, and giallo screams of the world squished by the chthonic grasp, to the original footage of the victorious Belgrade-Dharamsala bicycle marathon of 1931, Morriconesque spaghetti western theophanies, and the saving grace of the Heart pierced by Seven Swords, the album delivers nine movie themes that combine various musical elements into a unique work of cinematic alchemy.”

SIGILLUM S have been exploring unknown territories among extreme electronics, fringe acoustics and occultist noise since 1985.
With an original line-up of Italian experimental electronic composers Eraldo Bernocchi, Paolo L. Bandera and Luca Di Giorgio,
throughout their 40-year gestation, the noise merchants have worked with musicians including Ain Soph, The Sodality, Gerstein,
Iugula-Thor, Out Of Body Experience, Bill Laswell, Zu, Crisis, Thomas Felhmann, Gudrun Gut, Toshinori Kondo, SH Fernando and
the Wordsoundcrew, Dive , Colin Edwin, sculptor Milo Sacchi, multimedia artist Petulia Mattioli and many others.
Having toured extensively throughout Europe and Canada in the early part of their career, the result has been an endless series of
evolution, from the droning ritualism and ethnic explorations of the late ‘80s through to the surreal science fiction soundtracks of the
‘90s, to the super deep complexity of the new millennium. SIGILLUM S have been constantly evolving. The current formation
consists of original members Eraldo Bernocchi and Paolo L. Bandera with the addition of multi-instrumentalist Bruno Dorella and
visual artist Petulia Mattioli.
On new album ‘Aborted Towns, The Deadly Silence Before Utopia’ SIGILLUM S continue to develop their own brand of post-
industrial audio investigations, employing sound as a tool for mapping the subconscious and a reconfiguration of cognitive
processes.
“With ‘Aborted Towns’ we tried once again to expand our sonic vision, pushing further into the realms of immersive, cinematic
sound design. I see dystopian cityscapes where decay and transformation collide in waves of shadowy textures, fractured rhythms,
and spectral atmospheres. Each track feels like a fragment of an abandoned future, a lost reel of sound documenting a world
teetering on the edge of oblivion,” says Bernocchi.
Tracks such as ‘Lemur Agony’ and ‘Forgotten Utopias’ exist in an ever-changing continuum of harsh, irregular beats with sudden
shifts in experimental atmospheres, while ‘Permafrost’ and ‘Infective Carnations’ are unsettling, decadent electronic mutations.
‘Aborted Towns’ is more than just music – it is an architecture of sound, a ghostly residue of memories and echoes. The shifting
balance between claustrophobic tension and vast, desolate space invites the listener into a hypnotic, unsettling journey. It lingers,
seeps into the subconscious, and refuses to be forgotten.

With their sixth full-length "Dread Emperor", SLAUGHTERDAY deliver everything that they excel in, which is also precisely what their fans want from the duo: perfectly executed old school death metal with a wicked twist. From crushing doom-ridden ultra-heavy parts to calculated outbreaks of utter brutality, this record offers everything a still beating death metal heart could ask for. And of course, those cosmic horrors of the Great Old Ones, forbidden sounds, and tentacled death metal are still rising. The German band has also added more deeper meaning to their tales of cosmic terrors as a healthy antidote to stereotypes. Lyrically, SLAUGHTERDAY have always built on the well-established foundations of their genre by taking inspiration from American author H. P. Lovecraft and other masters of horror. And while sinister things crawl and creep through the duo's timeless brutality, they have always portrayed them with a sinister flair of their own. These days, the band has repurposed those monstrous creatures as metaphorical ciphers for relevant contemporary topics.

ENSANGUINATE is Slovenia’s putrid entry into the occult black/death metal grimoire of old, performing dark arts & sinister sounds.
The second album by the East European black/death metal force ENSANGUINATE brings metal of death burning with even more zeal for the old ways and is bolstered by a dose of '70s mysticism and black metal fury!

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Featuring the line-up of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami, Sigh created arguably their darkest work to date with third album ‘Hail Horror Hail’ in 1997; an epic of nightmare-inducing soundscapes & lyrics concerning topics such as murder & mortality. With at times more melodic compositions compared to its predecessors & a more traditionally metallic experience than some of the material witnessed on the cult ‘Ghastly Funeral Theatre’ EP released not long before, Sigh continued to embrace deeply atmospheric & symphonic elements, along with what was now becoming an increasingly experimental added dimension to their art, in creating this at times unnerving horror masterpiece.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find ) works, this edition of ‘Hail Horror Hail’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a bonus disc containing rough mixes of album tracks, plus other rarities, along with a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts & reflections on the album, the recording process & the influences surrounding its creation.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Featuring the line-up of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami, Sigh created arguably their darkest work to date with third album ‘Hail Horror Hail’ in 1997; an epic of nightmare-inducing soundscapes & lyrics concerning topics such as murder & mortality. With at times more melodic compositions compared to its predecessors & a more traditionally metallic experience than some of the material witnessed on the cult ‘Ghastly Funeral Theatre’ EP released not long before, Sigh continued to embrace deeply atmospheric & symphonic elements, along with what was now becoming an increasingly experimental added dimension to their art, in creating this at times unnerving horror masterpiece.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find ) works, this edition of ‘Hail Horror Hail’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a bonus disc containing rough mixes of album tracks, plus other rarities, along with a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts & reflections on the album, the recording process & the influences surrounding its creation.

180g vinyl, thick insert incl. lyrics, and a designed download card for the digital album.

Designed download card with free digital album

Originally released in 2020, Livslede is SUNKEN’s second full-length and a compelling work of atmospheric black metal - melancholic, dynamic, and shaped by a strong sense of northern introspection. 

Released in that fateful year of 1996 on Wrong Again Records - the precursor label to REGAIN, who released pivotal early works by In Flames, Arch Enemy, Naglfar, and Eucharist among others - CARDINAL SIN's Spiteful Intents was a short but all-too-sweet display of lethally melodic, seared-black death metal. Which is not all that surprising given that the band was formed by former Dissection founder/guitarist John Zwetsloot - so naturally, black tentacles of majesty fully enwrap Spiteful Intents, CARDINAL SIN's lone recording after a promo in 1995. Fully embracing (and leading, albeit shortly) the sound of the day, Spiteful Intents is also considerable for numbering two early/classic Marduk members: Jocke Göthberg on vocals & drums, and Devo Andersson on guitars/bass. As a special bonus, three tracks – including a cover of Death’s “Infernal Death” – from the same studio session, once lost to time, have now been added, altogether making for nearly a half-hour of nostalgic black / death. A simpler time, but an undeniably classic time forever etched into legendary...the past is alive!

By now OFERMOD requires no introduction. Steered by Belfagor aka Mika Hakola since 1996, the Swedish horde have sewn influence and infamy in equal measure.

Now marks the long awaited arrival of “DRAKOSOPHIA”, the bands 5th full-length album in which Belfagor is joined by North American vocalist “Adeptus”, Austrian session drummer “Florian Musil”, and bass by the one and only “Devo” ex-Marduk.

“DRAKOSOPHIA” is genuine Orthodox Black Metal, a subgenre that Belfagor forged nearly 30 years ago as a vessel for Theistic Satanism/ Left hand path esotericism in sonic form.

NIHILI LOCUS is absolutely a Doomish Black Metal cult act of the Italian scene!
"Semper" is the album that will consecrate the band for years enshrouded in their cult status shadow and now finally ready to emerge in all its dark greatness. The album will allow the band to reap the fruits of a career always characterized by a melancholic pathos embodied in a dark sonorous extremism
It presents heavy riffages paired with disheartened ones, fierce growling and sad atmospheres for a dark and anguished Doomish Black Metal enhanced by melodic elements.
With the great cover realized the great Norwegian photographer Kjetil Karlsen, "Semper" is a documentation of a sombre journey to the dark pit of the unknown.
NIHILI LOCUS, a name, a cult, the history of Italian Extreme Music.