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“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.
Chelsea Wolfe returns with her ninth studio album, The Dark, offering a more organic sound that sits somewhere between dark folk, gothic rock, and alternative. Guitars, piano, and live drums blend with her most mature songwriting yet, paired with a voice that sounds more powerful and confident than ever.
Thematically, The Dark explores letting go, self-discovery, and the strength to face one's own darkness. Created in collaboration with producer Ben Chisholm and guest musicians including Robin Finck (Nine Inch Nails), Stella Mozgawa (Warpaint), Matt Chamberlain, and Justin Meldal-Johnsen, the result is an atmospheric album that further develops Chelsea Wolfe's unmistakable sound — one that should appeal to longtime fans and new listeners alike.
Chelsea Wolfe returns with her ninth studio album, The Dark, offering a more organic sound that sits somewhere between dark folk, gothic rock, and alternative. Guitars, piano, and live drums blend with her most mature songwriting yet, paired with a voice that sounds more powerful and confident than ever.
Thematically, The Dark explores letting go, self-discovery, and the strength to face one's own darkness. Created in collaboration with producer Ben Chisholm and guest musicians including Robin Finck (Nine Inch Nails), Stella Mozgawa (Warpaint), Matt Chamberlain, and Justin Meldal-Johnsen, the result is an atmospheric album that further develops Chelsea Wolfe's unmistakable sound — one that should appeal to longtime fans and new listeners alike.
Gatefold, three sides recorded, with extensive huge book!
Available in two vinyl colors options
Gatefold, three sides recorded, with extensive huge book!
Available in two vinyl colors options
FEN are climbing to a new artistic height by coming down to earth with their eighth full-length "Elemental Part One: Mourning Earth". The East Anglian trio has turned to their 'roots' in every sense, by distilling the true essence of what constitutes their sound through everything that they have learned and added in the last two decades. While the previous album, "Monuments to Absence" (2023), was deliberately arranged dense, fast and intense, FEN decided to leave breathing space on this album to allow more time for themes and ideas to exhale and unfurl. Of course, there is still much sonic aggression but channelled differently as large parts of "Mourning Earth" were recorded live to allow an organic nature to flow, and to permit the natural rhythms of the pieces to develop. Lyrically, FEN sum up their basic idea behind "Elemental Part One: Mourning Earth" in their own poetic words: "The morning mists clearing over the boggy expanses of the fens to reveal another grey, gloom-laden day of sorrow and regret. And at twilight, the slow, sad realisation that tomorrow promises only more of the same – tormented by the half-heard whispers of the spirits bound to the soils, our pain continues. And we can only endure." With "Elemental Part One: Mourning Earth", FEN have reached a new pinnacle in their exciting career and achieved a perfect balance between their black metal foundations and post-black metal innovations. FEN take their listener on a journey to grim bogs, languid waterways, and dismal fogs over bare rock – yet on the other side waits a sense of surcease to the endless existential ennui within.
