Vinyl

Full coloured cover with white inner jacket + Insert & A2 Poster. Limited to 122 copies on 12" Vinyl.

Azaghal, the black metal pioneers hailing from Finland are back with their 13th studio album “Nekrohelios”.

Another sinister record by these old timers showing the new kids on the scene how to produce a quality record in the traditional old school way of True Finnish Black Metal!
Compared to their 2 previous albums “Alttarimme on Luista Tehty” & “Valo Pohjoisesta”, you can clearly hear on Nekrohelios that Azaghal went back to their original sound and roots from their early albums such as their long time classic Mustamaa.

The album starts with a haunting keyboard piece that lures your right back into that early 90’s vibes followed by the first opening song in full fury and blast beats! Azaghal is known for their well written guitar melodies and structures, obscure sound and straight forward pounding battery combined with harsh vocals that shriek throughout the album.

However, there is also enough variety going on, mid tempo’s, break parts, choruses and a lot of keyboard pieces which create that sinister feeling (think of early emperor without sounding symphonic). Thirteen also delivers a lot of variety with his vocals, from harsh to low sounding screams, but also adding clean vocals and almost choir voices.

All in all, Azaghal once again delivered an album that is outstanding in the ways of True Black Metal and with this the veterans show that they’re still far from done! True Finnish Black Metal that every fan of real underground black metal will enjoy from start till finish.

Avantgarde Music is proud to announce their collaboration with Saidan, an Eastern horror-themed band from Nashville, TN.

Born in 2020, Saidan released three studio albums so far, mixing the weird, over-the-top aesthetic of visual kei with fast, melodic riffing in the vein of labelmates Moonlight Sorcery.

Fangdriller: Scars Beneath Memories Wrist is the fourth studio album born from the minds of multi-instrumentalist Splatterpvnk and drummer Hundosai, a new chapter in the narrative concept that links together all Saidan releases. In the band’s own words, Fangdriller follows the story of a student named Junko, depressed and miles away from the people she loves. In the depths of her isolation, she finds comfort in a mysterious cult called Ethereal Blood. But unbeknownst to Junko, her anguished seclusion has made her the perfect victim.

Avantgarde Music is proud to announce their collaboration with Saidan, an Eastern horror-themed band from Nashville, TN.

Born in 2020, Saidan released three studio albums so far, mixing the weird, over-the-top aesthetic of visual kei with fast, melodic riffing in the vein of labelmates Moonlight Sorcery.

Fangdriller: Scars Beneath Memories Wrist is the fourth studio album born from the minds of multi-instrumentalist Splatterpvnk and drummer Hundosai, a new chapter in the narrative concept that links together all Saidan releases. In the band’s own words, Fangdriller follows the story of a student named Junko, depressed and miles away from the people she loves. In the depths of her isolation, she finds comfort in a mysterious cult called Ethereal Blood. But unbeknownst to Junko, her anguished seclusion has made her the perfect victim.

Second pressing limited to 200 copies on black or marble 180g heavy vinyl, includes double sided insert and pvc sleeve. Mastered for vinyl by Greg Chandler at Priory Recording Studios.

Todomal are back with "A Greater Good", their new studio album. The Spanish duo formed by Christopher B. Wildman and Javier Fernández (Asgaroth, Nexus 6, The Heretic, Dejadeath, etc.) bring a collection of "dark songs" (as they like to define it), which began with the seeds planted in "Ultracrepidarian," their debut album, has evolved into a complex, dense, and unclassifiable album that takes us on a journey through somber landscapes, existential doubts, tragicomedy, and spiritual and personal unrest.

"A Greater Good" poses challenging questions, wrapped in musicthat is sometimes dark and at other times luminous, spanning from slow-tempo to progressive rock to quasi-mystical litanies. The path they embarked upon with their debut album, leading to desolate landscapes and the emptiness of the plateau, has continued into darker territories, reminiscent of tenebrist altarpieces, where doubts about what is right or wrong, what we do in this world to earn redemption, or why we have a nefarious tendency to destroy what we love are depicted against a smoldering forest.

The journey continues, despite the obstacles.

"A Greater Good" boasts ambitious production to accommodate all its elements, like pieces of a giant mosaic. Vocal harmonies, acoustic elements, and occasional orchestral arrangements blend with serpentine opera-rock pieces, making their way by clawing through the earth.

Black 12" vinyl (33 rpm) in Jacket with 4-page insert.
First pressing 400 copies worldwide.

HULDER is a dark black metal project from the United States, driven by the creative partnership of Hulder and Necreon, whose three albums to date have steadily drawn the project toward more expansive and collaborative territory. ‘Verbolgen’, released jointly by Season of Mist and 20 Buck Spin, marks a decisive turn: the first HULDER record on which Necreon steps fully into his role as co-leader rather than session contributor.
Rooted in ancient nature worship, ancestral rite, and the shadows of pre-Christian tradition, ‘Verbolgen’ moves through nine tracks that trade in both the severity and the strange, wintry beauty that have always defined HULDER 's sound. The writing has grown more layered here, drawing on a wider palette of instrumentation: hurdy gurdy and additional keys from Keld bring an almost processional weight to certain passages, while Ianuaria's session flute drifts through the album like smoke across still water. Two drummers divide the record between them, Vapula and Vrolok each bringing their own character to their respective tracks, and the sum of it is a rhythm section that feels alive to the album's shifts in mood and tempo. The mix, handled by Ahti Kortelainen at Tico Tico Studio in Finland, gives the record an earthy, resonant quality that suits its themes of blood, soil, and the settling of old debts.
Even the visual identity signals a new chapter: the cover art, painted by Morrigan, is her first work created for a metal band in nearly three decades, with an updated logo crafted by Jannicke Wiese Hansen. Three of the album's songs are sung in Flemish, lending ‘Verbolgen’ a peculiar, incantatory dimension that sets it apart from anything in HULDER's back catalogue.

For fans of BATHORY, DISSECTION, MOONSORROW.

Limited edition gatefold black 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).

“The Storm” offers a first glimpse of Armagedda’s forthcoming fifth album, STORM OF EVIL: two new recordings pressed into seven-inch form, pairing the title track with the exclusive “The Sermon Never Heard”. 

Following “Svindeldjup ättestup” (2020), Armagedda once again turns toward older bones. These songs draw a line back through the torn austerity of the band’s origins, the heavier, death-inflected pulse that emerged around “Only True Believers”, and the sickly spiritual oppression later perfected on “Ond spiritism”. Yet the result is not retrospective. It is a further descent, carried by the same adversarial will under a harsher and more immediate guise.

Conjured at Necromorbus Studio in October 2025 alongside Tore Stjerna, “Storm of Evil” stands as a premonition of what is to come: grave-bound, accusatory black metal with the stench of old death in its breath. No mourners. No prayers. Only the sermon never heard.

“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”

Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay.

“Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.”

Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year. “Fortunately, all of the recordings for Decay were completed long before the surgery, vocals included… although the back end of a couple of songs were recorded with the hernia itself, and that was a struggle. I was already aware that the GODFLESH shout, so to speak, was exacerbating the hernia greatly, as was every GODFLESH performance in the lead-up to the surgery once the hernia appeared, and the hernia was mostly caused by year upon year of shouting in GODFLESH. The album was mixed post-surgery, and while I was still in some pain and considerable discomfort, but fortunately GODFLESH is generally me expressing my pain, albeit [usually] mental, philosophical and existential, whereas this was physical pain.”

While the middle of the record pulses with five-minute hate-grooves, Broadrick credits the slime-wracked opener “Master and Slave” and crawling closer “Consume Me” with Decay’s true conceptual thrust. “The bookends of Decay are the most important pieces to me. They say it all, so to speak; the album could have been just those two songs alone – the duration of them is half of the total album!”

As GODFLESH's active tenure comes to a close, Broadrick expresses gratitude that it was ever his vessel to use as he willed. “It expresses my pain, and I’ve put my body and soul into this expression for the majority of my existence. I feel quite lucky, because Godflesh is now physically impossible for me, rendering it useless. I now wish to move out of its constraints, move on creatively with heavy/ugly music to new ground.”

Shadow Records (distributed and marketed by Regain Records) proudly presents the reissue of Sorhin's debut EP, Skogsgriftens rike on LP and CD formats. Originally released in 1996, Skogsgriftens rike marks the beginning of Sorhin's journey into the pantheon of Swedish black metal, laying the foundation for the cult full-length albums “I det glimrande mörkrets djup” and “Apokalypsens ängel”. Even at this early stage, the band's identity was fully formed, a cold, evocative and unmistakably Nordic vision that would become their enduring hallmark. Nearly thirty years on, Skogsgriftens rike still stands as a monument to the cold majesty of 1990s Swedish black metal, untouched by time, uncompromising in spirit, and as haunting as the northern wilderness that inspired it. Formats: 12" vinyl LP (black vinyl) -Sturdy 300gsm vinyl-sleeve with bronze pantone print -Vinyl insert -Double-sided A2 poster -Limited to 400 copies on black vinyl -CD jewelcase -8 page booklet

MODERN RITES are the Industrial Metal duo of guitarist Berg (AARA) and multi-instrumentalist/vocalist/lyricist Jonny Warren (KUYASHII).

Building upon acclaimed 2021 debut "Monuments", new album "Endless" unifies, elevates and perfects the band's vision, ebbing and flowing between oppressive isolation and furious optimism in an anthemically intense exploration of the human condition.

Comes housed in a 3mm single jacket, including two 12" insert and a download card.
Limited to 250 copies.

Red With Black Marble

Comes with a download card. Pressed on transparent orange with black smoke heavy vinyl. Colors on final record may vary to a degree from the mockup.

"Esoterik" finds Jason Köhnen's BONG-RA continuing the alchemical evolution that has defined his most adventurous work. A spiritual successor to 2025's "Black Noise", the record delves deeper into the shadows and luminescence of the occult, expanding the ritualistic atmospheres explored on "Antediluvian" (2018) and "Meditations" (2022) while forging a harsher, more industrial sonic architecture.