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The Garden Of Unearthly Delights was the eighth studio album by British Doom legends Cathedral, for which they were signed by Nuclear Blast Records in Germany. The album received a lot of critical acclaim and was well received by fans alike. Tracks such as Corpsecycle and North Berwick Witch Trials were firm favourites and staples in the live setlists right up until the bands end.
Produced by warren Riker (Fugees, Corrosion Of Conformity, Down, Cynic etc), it had a revitalised energy, which saw the band touring relentlessly around the globe once again.
Choc full of the usual monstrous riffs, strange subject matter and non-conforming twists and turns that Cathedral became known for, it’s crowning achievement was epic 27-minute track simply titled The Garden. It’s a Doom prog odyssey which took the listener through a myriad of arcane environments and odd musical passages.
The Garden Of Unearthly Delights was the eighth studio album by British Doom legends Cathedral, for which they were signed by Nuclear Blast Records in Germany. The album received a lot of critical acclaim and was well received by fans alike. Tracks such as Corpsecycle and North Berwick Witch Trials were firm favourites and staples in the live setlists right up until the bands end.
Produced by warren Riker (Fugees, Corrosion Of Conformity, Down, Cynic etc), it had a revitalised energy, which saw the band touring relentlessly around the globe once again.
Choc full of the usual monstrous riffs, strange subject matter and non-conforming twists and turns that Cathedral became known for, it’s crowning achievement was epic 27-minute track simply titled The Garden. It’s a Doom prog odyssey which took the listener through a myriad of arcane environments and odd musical passages.
The term ‘back from the grave’ takes on a whole new meaning with the release of this (thought to be long lost) epic recording by the much-missed British Doom Metal lords: Cathedral. Society’s Pact With Satan was the last ever recording made by the band, back in 2012. It was recorded at the end of the sessions for their swan song album; 2013’s The Last Spire. But, for some reason, the 30-minute track was not mixed at the time, thus pretty much forgotten about by everyone involved, until very recently.
Rediscovered by producer Jaime Gomez Arellano, whilst sorting through his old studio recordings, he excitedly alerted the band, saying that he had discovered a long-lost gem. Upon hearing it, the band members were convinced enough to agree that it should see a commercial release.
So, here we have it: the final sermon by Cathedral and what a way to go out. It’s an unapologetic, uncompromising exercise in macabre observations, musical eccentricity, brutal riffing and general arcane self-indulgence. There genuinely was/is no other band like Cathedral. Just ask Tony Iommi.
The term ‘back from the grave’ takes on a whole new meaning with the release of this (thought to be long lost) epic recording by the much-missed British Doom Metal lords: Cathedral. Society’s Pact With Satan was the last ever recording made by the band, back in 2012. It was recorded at the end of the sessions for their swan song album; 2013’s The Last Spire. But, for some reason, the 30-minute track was not mixed at the time, thus pretty much forgotten about by everyone involved, until very recently.
Rediscovered by producer Jaime Gomez Arellano, whilst sorting through his old studio recordings, he excitedly alerted the band, saying that he had discovered a long-lost gem. Upon hearing it, the band members were convinced enough to agree that it should see a commercial release.
So, here we have it: the final sermon by Cathedral and what a way to go out. It’s an unapologetic, uncompromising exercise in macabre observations, musical eccentricity, brutal riffing and general arcane self-indulgence. There genuinely was/is no other band like Cathedral. Just ask Tony Iommi.
After an almost decade-long period of dwelling in the shadows, Koldbrann returned with a series of select festival appearances in 2022/23, premiering new material and proving that they're still full of cold grimness and misanthropy, and completely void of compromise. After last year’s 2-track 7” single “Den 6. Massedød (Manna fra en annen himmel)”, their long-awaited 4th album “Ingen Skånsel” is ready to be unleashed - and Koldbrann is sounding rawer, harsher and better than ever. Even though deeply rooted in the True Norwegian Black Metal tradition, Koldbrann has carved out their own sound within the genre confines and it sounds fresh, raw and different. There’s a fierce nerve running through the album, and the songs stand out from today’s typical black metal sounds. You can feel the aggression throughout the whole album. “Ingen Skånsel” is one of the most interesting, aggressive and fierce Norwegian black metal albums in modern times!
After the two albums Nattestid and Bjoergvin, Taake completed the trilogy with Doedskvad. Recorded at Grieghallen Studios, with guest appearances from cult black metal artists such as Nattefrost (Carpathian Forest), Nordavind (ex-Carpathian Forest) and Taipan (Orcustus), Doedskvad is a pure, cold and grim black metal masterpiece. Doedskvad has not been pressed on vinyl since 2016 but is back in 2018 on an extremely limited run.
18+, Barely Legal. Yes, it has been over 18 years since I HATE first released the VULCANO/NIFELHEIM split in 2006. Back then as a 7” and CD. The release to this day still contains two exclusive non album studio tracks by both bands. Time has come to finally make this abomination available as a 12” LP. The vinyl will also feature NIFELHEIM’s version of “Insulter of Jesus Christ” (DAMNATION cover). Previously only available on the 2006 CD-version (The track features guest appearance by Jon Nödtveidt – his last ever recording prior to his passing).
11th album from Norway’s legendary viking metal band Helheim!
The harshness and extreme sounds of “WoduridaR”, is a return to the roots for the viking metal legends Helheim. The album is a result of a fusion between their former releases “LandawarijaR” and “Rignir”, and they’ve returned to the aggression one could hear on “LandawarijaR”. However, as “Rignir” presented something new and exciting that the band enjoyed, a lot of the atmospheres, focus of melodies and the use of clean vocals is also a big part of the new album. “WoduridaR”, the eleventh full length album from Helheim, more or less sums up their almost 30 years long career, with elements from all their albums combining the harshness from the first ones to the vocal arrangements on “Rignir”.
“WoduridaR” is an Old Norse word, that can be translated to “the wild rider”. You can draw lines from that to Odins many names and meanings. For Helheim and their new album, all the songs are conceptual free from each other, and tell their own story. It has never looked darker in the realm of Helheim, and songs like “Tankesmed” and “Litil vis madr” are great examples of that!
A shapeshifting beast to sacrifice. Conduit of meditations to emanations. Through the vessels ( ) 1853, Ritualmord manifests.
Unbound by genres and style. Firmly rooted in black metal. Not as a mere genre, but lifestyle.
With each release, a pursuit to explore. From neofolk-tinged acoustic rumbles to alternative electronic flirting with industrial. Drones emerging into post-rock. Some may say post-black metal, someday.
It began as a place where songs from Lifelover and Hypothermia would go.
As we grow as artists and individuals, yet remain true to ourselves and ideals.
Which is one of the foundations that made those aforementioned bands stand out from the masses.
To creatively be and remain original. True to ourselves and the art that we live for.
Without boundaries. Ever-evolving.
After three EPs, ahead is the following: The first full-length debut album "This is Not Lifelover"
