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One-off edition, limited to 150 copies

Sivyj Yar is a post-black metal band formed almost twenty years ago in the countryside south of St. Petersburg. Since 2014, multi-instrumentalist and composer Vladimir Vishniakov has been working closely with Avantgarde Music to release his music endeavors, and A Scarlet Sunset Over The Horrid Abyss marks a new milestone in the artist’s path.

Sivyj Yar has always been about the history and darkest times of the Russian people, and this new album makes no exception. In Vladimir’s words, this work is about the innocent, the tortured, the murdered, the broken, and the forgotten. About those who were destined for unbearable suffering. About the sacrifice that they made. The wheel of terror turns faster. The darkest parts of history repeat themselves if they are erased from human memory or replaced with false images. Entire nations can easily be plunged into darkness for years. Icy fear fetters souls, mutilates them.

A Scarlet Sunset Over The Horrid Abyss features poetry by Andrei Bely, symbolist Russian poet from the early XX century, as well as archival photographs taken in the Kolyma camps — one of the most terrible places in the new history of Russia, a remote, eastern area of the Russian country where dozens of gulags held Soviet POWs and political prisoners in extreme conditions until the ‘70s.
 

One-off press in digipak with 12 pages booklet, limited to 300 copies

Sivyj Yar is a post-black metal band formed almost twenty years ago in the countryside south of St. Petersburg. Since 2014, multi-instrumentalist and composer Vladimir Vishniakov has been working closely with Avantgarde Music to release his music endeavors, and A Scarlet Sunset Over The Horrid Abyss marks a new milestone in the artist’s path.

Sivyj Yar has always been about the history and darkest times of the Russian people, and this new album makes no exception. In Vladimir’s words, this work is about the innocent, the tortured, the murdered, the broken, and the forgotten. About those who were destined for unbearable suffering. About the sacrifice that they made. The wheel of terror turns faster. The darkest parts of history repeat themselves if they are erased from human memory or replaced with false images. Entire nations can easily be plunged into darkness for years. Icy fear fetters souls, mutilates them.

A Scarlet Sunset Over The Horrid Abyss features poetry by Andrei Bely, symbolist Russian poet from the early XX century, as well as archival photographs taken in the Kolyma camps — one of the most terrible places in the new history of Russia, a remote, eastern area of the Russian country where dozens of gulags held Soviet POWs and political prisoners in extreme conditions until the ‘70s.
 

Tellingly titled, The Awakening displays yet more sides to this still-unfolding entity. To be sure, Valravn's poise and power are firmly accounted for here - you can still FEEL every note, so vital, virile, and vivid - and they've even added a bit of death metalled muscle, too, but the songwriting itself is where their second album truly takes flight. Sharp and yet never sterile, thanks to a production that's on the right side of polished, there's an acute balance of contrasts across The Awakening's 44-minute runtime; each of the album's eight songs features some twist of melancholy and militancy, of bursting color and bristling monochromatism, of stoic resignation and steadfast determination, of man-on-the-mountain spaciousness and stuck-in-the-catacombs claustrophobia. Concluding with the literally breathtaking "Charge of the Last Cavalry," The Awakening consolidates all the strengths of its predecessor and indeed leads Valravn into a new charge for glory. 

An otherwise-new entity, Valravn nevertheless evince a mastery beyond their short time as a band with their first public recording, the full-length Prey. Arriving very fully formed, Valravn's debut album no doubt displays characteristics of Finland's now-world-renown black metal sound - cryogenic melody, raw 'n' rugged execution, an unapologetic assertion of traditionalism - but in other, more telling aspects, Prey asserts its own identity counter to this prevailing paradigm.

Valravn truly sound like a band, as in four individuals playing together in the same room rather than the usual copy/paste practices used by so many studio-only "bands." This very tangible physicality bleeds over into the overall emotion of Prey, whereby the listener can literally FEEL every note...and every note is vital, virile, vivid. Of course, Valravn are a black metal band, and black metal by definition is monochromatic, but that vividness is writ large across the album's eight central tracks, each one as cutting 'n' concise as the next. As such, Prey feels a lot larger than it should, for the band pack in an almost-cresting sense of the epic into these tight 'n' taut tracks.

Tellingly titled, The Awakening displays yet more sides to this still-unfolding entity. To be sure, Valravn's poise and power are firmly accounted for here - you can still FEEL every note, so vital, virile, and vivid - and they've even added a bit of death metalled muscle, too, but the songwriting itself is where their second album truly takes flight. Sharp and yet never sterile, thanks to a production that's on the right side of polished, there's an acute balance of contrasts across The Awakening's 44-minute runtime; each of the album's eight songs features some twist of melancholy and militancy, of bursting color and bristling monochromatism, of stoic resignation and steadfast determination, of man-on-the-mountain spaciousness and stuck-in-the-catacombs claustrophobia. Concluding with the literally breathtaking "Charge of the Last Cavalry," The Awakening consolidates all the strengths of its predecessor and indeed leads Valravn into a new charge for glory. 

"Original Finnish Heavy Rock recorded 1987: Where Thunder Meets Steel"
Born from the roar of unyielding spirit and electrifying riffs, this is heavy rock that resonates across decades. A long-lost gem blending grit, melody, and epic attitude — echoing the golden age of Finnish rock glory and reigniting the spirit of an era when thunder roared and steel reigned supreme.

Contains last unreleased material of this band, 3 studio and 4 live tracks.
Live tracks are extremely raw and primitive yet fairly good sounding.
Dead But Dreaming is the memory of true East-European black metal golden dawn.

Track 1 previously unreleased, originally performed by Arkona on "Imperium" LP.
Track 2 previously unreleased, created in 2001, taken from the forthcoming split EP with Legion Of Doom.
Track 3 previously unreleased, created in 1995 and 2002.
Track 4 performed live in 2001, originally appeared on "The Gates" EP.
Track 5 performed live in 2001, originally appeared on "Tormenting Legends I"compilation.
Track 6 performed live in 2001, originally appeared on "Purity" LP.
Track 7 performed live in 2001, originally performed by Bolt Thrower on "War Master" LP.