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On “Blessings of Amurdad” (Amurdad translating to immortality in Middle Persian), Dakhma abducts listeners to a distant, foreign land and dares to journey to a time long ago, when desert mystics and noble empires still strode proudly through ancient Persia. Thematically, “Blessings of Amurdad” explores the complex relationship between mortality and immortality in Zoroastrianism, based mainly on key passages of the ancient text of the Gathas. In particular, the band manages to provide a compelling narrative detailing perceived jealousies expressed by mortals towards the divine and vice versa. These themes are captured in the compelling cover artwork, painted by the inimitable Babar Moghal, depicting an ancient tower of silence, seemingly forgotten and decaying but nevertheless exuding a sense of foreboding and nobility, hinting at the divine.
'Of Stone, Wind, and Pillor' is now available as a 20th anniversary remastered edition in deluxe Digipak with live bonus music.
Golden cassette shell with full coverage on-body print.
Atmospheric and ritualistic soundscapes start off the album while synths are also mixed in with the heavier sections of the music at times.
4-panel digipak, black flooded inside
Booklet with lyrics and info
Bundle containing exclusive white border Shield patch
Limited to 999 handnumbered copies
Artwork by Misanthropic Ar
Six-panel digipak with UV details
Finally, the wait is over!
The third album by Norways finest, WHOREDOM RIFE, is upon us! Six new hymns of traditional Norwegian Black Metal, heavily rooted in the 90ies glory days, or as V.Einride says; "we're not retro, we're just late".
Epic and grandiose, melancholic and utterly aggressive; Winds of Wrath is truly a tumultous ride to Hell and back.
On “Blessings of Amurdad” (Amurdad translating to immortality in Middle Persian), Dakhma abducts listeners to a distant, foreign land and dares to journey to a time long ago, when desert mystics and noble empires still strode proudly through ancient Persia. Thematically, “Blessings of Amurdad” explores the complex relationship between mortality and immortality in Zoroastrianism, based mainly on key passages of the ancient text of the Gathas. In particular, the band manages to provide a compelling narrative detailing perceived jealousies expressed by mortals towards the divine and vice versa. These themes are captured in the compelling cover artwork, painted by the inimitable Babar Moghal, depicting an ancient tower of silence, seemingly forgotten and decaying but nevertheless exuding a sense of foreboding and nobility, hinting at the divine.
