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South American edition published by ICARUS Music (please note: this is an official license, not a bootleg)

https://icarusmusicstore.com/

demo compilation from Chicago death metal band CONTAGION

The release compiles the 1991 and 1992 demos onto one CD, remastered by Lasse in Ballade Studios in 2021

Comes 20 page booklet with lots of old flyers, photos and info from the era around the demos in the early 1990’s

Full color picture disc in custom sleeve made of black card stock feat. hotfoil embossing and alternate artworks, heavy stock insert and a designed download card for the digital album.

FLUISTERAARS return with their sixth full-length, Jacht der Mysteriën — three towering epics centered around the pursuit of the unknown.

Drawing from local legends, mysterious lights in the woods, and close observation of their immediate surroundings, the album was conceived as a live and complete band album and captured in a single take with longtime producer T. Cochrane.

Reamped through the hollow cylinder of an abandoned water tower, the record drifts between presence and disappearance — immersive, urgent, and elusive.

“And a magic dwells in each beginning”

Enthralled by occultism and the magic of Black Metal SECRETS OF THE MOON was originally brought forth by bassist and singer Daevas after his departure from MARTYRIUM in Osnabrück in 1995. Thanks to a tremendous discography – amongst a multitude of releases most notably spanning seven full-length albums – and countless shows performed domestically and abroad, SECRETS OF THE MOON – within the ensuing 27 years until its termination in 2022 – would go on to put its name on the map as one of Germany’s most revered dark Metal bands.

Prior to unleashing their first album Stronghold of the Inviolables in 2001 the mischievous collective managed to produce a body of work comprising two demos – Unearthed Arcana and Vanitas – Promotape 98, the notorious and never officially published Moondance Madness tape and the cult Split 7” EP with LUNAR AURORA. Although less known than their albums, these dusty relics from the dark past are no less significant. Naturally way rawer and unpolished than the studio albums, what these recordings may lack in sophistication is all made up for by the mystical charm pervading their every second.

All of these raw diamonds from SECRETS OF THE MOON’s formative period with many obscure recordings especially unearthed for this compilation on top, Darkness Shall Rise Productions now have the great pleasure to reissue in the shape of this marvellous compilation.

A new in-depth interview with Lars “Devas” Plegge and Phil “sG” Jonas was done especially for this release and the booklets also includes many never seen before pictures of the groups glorious past.

Over 130 minutes of pure BLACK METAL MAGIK!

2CD jewel-case CD with 32-page booklet.

SAOR is Andy Marshall's one-man vehicle for what he calls Caledonian Metal: an atmospheric black metal sound built from Highland landscapes and Scottish ancestral memory. Since founding the project in Glasgow in 2013, Marshall has grown SAOR from a cult curiosity into one of the genre's most distinctive voices.
‘Caledonia’ gathers five songs first heard on ‘Roots’, ‘Aura’ and ‘Guardians’ and rebuilds them from the ground up, produced by Chris Fielding. This isn't a remaster or a victory lap. Marshall wrote these songs before he had the resources or the mileage to realise them fully, and over a decade of touring has reshaped how they live and breathe on stage. The album opens with "Aura MMXXVI", a hushed procession through forests and corries that sets the record's terms early: patience, scale, and a reverence for landscape that never tips into pastiche. "The Awakening MMXXVI" answers with something more urgent, a call to old ways and older gods dressed in Marshall's most direct lyric writing on the record, the kind of song built to be shouted back at a festival crowd. "Carved in Stone MMXXVI", the album's centrepiece and lead single, carries the clearest sense of destiny and prophecy in the track list, its widescreen production giving the song's ancestral imagery real physical weight. "Hearth MMXXVI" turns inward, trading myth for something closer to memory, a meditation on home and belonging that grounds the record before its close. "Tears of a Nation MMXXVI" ends the album on its most elegiac note, mourning loss and ruin in a way that feels earned rather than performed, closing the circle the record opened with.
Guest contributions from strings, whistle, pipes and additional vocals widen the textures throughout without diluting the atmosphere, and the sequencing across all five songs traces a clear arc from landscape to legend to loss.

SAOR is Andy Marshall's one-man vehicle for what he calls Caledonian Metal: an atmospheric black metal sound built from Highland landscapes and Scottish ancestral memory. Since founding the project in Glasgow in 2013, Marshall has grown SAOR from a cult curiosity into one of the genre's most distinctive voices.
‘Caledonia’ gathers five songs first heard on ‘Roots’, ‘Aura’ and ‘Guardians’ and rebuilds them from the ground up, produced by Chris Fielding. This isn't a remaster or a victory lap. Marshall wrote these songs before he had the resources or the mileage to realise them fully, and over a decade of touring has reshaped how they live and breathe on stage. The album opens with "Aura MMXXVI", a hushed procession through forests and corries that sets the record's terms early: patience, scale, and a reverence for landscape that never tips into pastiche. "The Awakening MMXXVI" answers with something more urgent, a call to old ways and older gods dressed in Marshall's most direct lyric writing on the record, the kind of song built to be shouted back at a festival crowd. "Carved in Stone MMXXVI", the album's centrepiece and lead single, carries the clearest sense of destiny and prophecy in the track list, its widescreen production giving the song's ancestral imagery real physical weight. "Hearth MMXXVI" turns inward, trading myth for something closer to memory, a meditation on home and belonging that grounds the record before its close. "Tears of a Nation MMXXVI" ends the album on its most elegiac note, mourning loss and ruin in a way that feels earned rather than performed, closing the circle the record opened with.
Guest contributions from strings, whistle, pipes and additional vocals widen the textures throughout without diluting the atmosphere, and the sequencing across all five songs traces a clear arc from landscape to legend to loss.

Print on demad: PLEASE state your size in the order's notes:  

S - M - L - XL

(IF YOUR SIZE IS NOT IN STOCK, WE PRINT THEM ON DEMAND: PLEASE CONSIDER 10/14 DAYS TO HAVE THESE MANUFACTURED AND SHIPPED!!!)

After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a black metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten.

In the mid ‘00s JANVS released two of the most personal and interesting black metal records ever to come out of Italy, Fulgures (2007) and Vega (2008), mixing excellent songwriting to a profound latin cultural heritage. A few years later the band re-recorded and officially released their early songs in Nigredo (2014) before disappearing into the waves of the Mediterranean sea. We were incredibly excited when composer and multi-instrumentalist Matteo “Vinctor” Barelli told us the band was working on new music once again. JANVS lineup is once again completed by Massimo "m:A Fog" Altomare on drums and Claudio "Malphas" Fogliato on bass, and the trio is ready to release the new EP Fatum Est.

In their own word, in Fatum Est, each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.

This work is dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose. Moving forward from the softer atmospheres of Vega, expect intensity and desperate cosmic ferocity.

he Brooklyn, NY combo hits back after 4 years of silence with a record that left me speechless when i first heard it. On "Chasm" their savage and filthy, doom infused Black Metal has been enriched by a heavy dosage of atonal Death Metal riffing and complex, non-linear drumming. This album is seriously destructive. Listen to "Pierced Larynx" here: http://www.kerrang.com/…/exclusive-mutilation-rites-premie…/ - pre-order link in bio (EU and UK)! Very proud to release this monster on vinyl in conspiracy with Gilead Media. Superb artwork by the master Mark Riddick.

Especially released for the VINTERLAND concert at the "Avantgarde Music Festival II" on 05/09/2026 in a numbered and limited to 350 copies edition.

The copies not sold at the gig are on sale now besides a few tens (band's private copies) 
The EP includes two demo songs and comes in bone-white vinyl

Limited edition transp. orange-black marbled 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).

Limited edition CD Mediabook with a 32p 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).