Noevdia

2026 re-edition in solid digipak this time!

2026 reissue !

Five love songs for the time-ridden, mouldy Catholic cunts;

Praised be and exalted 

With words and tunes

Those saints of old age,

Who their fate and devotion wage,

Only lubricated by Christ’s breath!

“Benediction, Part 2” cultivates the same derelict impulse first heard on Sodality’s 2020 debut, “Gothic”, and sharpened further on “…Part 1”. This is Black Metal stripped of pretence, carrying all the hallmarks of esoteric warfare and devotion pushed to its breaking point. Five hymns for ruinous faith echo through a cathedral of spiritual collapse, upheld by the smothered breath of saints, the weight of silence, and the violence of belief. Guided by bursts of inspiration rather than deliberation, the material retains the immediacy of its creation. The riffs and melodies are swampy, evil, and suffocating, just like the Catholic sense of morality and the divine.

Sodality’s place within the NoEvDia catalogue traces back to the late Finnish artist Timo Ketola, editor of Dauthus – arguably the ultimate printed incarnation of the quintessential Death and Black Metal spirit. Dauthus also existed as a small but fiercely curated label, and it was in this capacity that Sodality were brought to our attention.

Timo’s steadfast conviction – that Sodality’s early material was a ‘self-inflicted gun wound, possibly even partly unintentional’ – paved the way for his label’s first music title since 2009, when Dauthus, NoEvDia, and The Ajna Offensive co-released Teitanblood’s debut.

After he completed the LP layout for “Gothic” but before it took physical form, Timo passed away – yet his impetus defined the trajectory which led to the ongoing “Benediction” cycle. “…Part 2” follows that same line of transmission: stark, intuitive, and drawn from the same raw nerve Timo recognised at the beginning.

Five love songs for the time-ridden, mouldy Catholic cunts;

Praised be and exalted 

With words and tunes

Those saints of old age,

Who their fate and devotion wage,

Only lubricated by Christ’s breath!

“Benediction, Part 2” cultivates the same derelict impulse first heard on Sodality’s 2020 debut, “Gothic”, and sharpened further on “…Part 1”. This is Black Metal stripped of pretence, carrying all the hallmarks of esoteric warfare and devotion pushed to its breaking point. Five hymns for ruinous faith echo through a cathedral of spiritual collapse, upheld by the smothered breath of saints, the weight of silence, and the violence of belief. Guided by bursts of inspiration rather than deliberation, the material retains the immediacy of its creation. The riffs and melodies are swampy, evil, and suffocating, just like the Catholic sense of morality and the divine.

Sodality’s place within the NoEvDia catalogue traces back to the late Finnish artist Timo Ketola, editor of Dauthus – arguably the ultimate printed incarnation of the quintessential Death and Black Metal spirit. Dauthus also existed as a small but fiercely curated label, and it was in this capacity that Sodality were brought to our attention.

Timo’s steadfast conviction – that Sodality’s early material was a ‘self-inflicted gun wound, possibly even partly unintentional’ – paved the way for his label’s first music title since 2009, when Dauthus, NoEvDia, and The Ajna Offensive co-released Teitanblood’s debut.

After he completed the LP layout for “Gothic” but before it took physical form, Timo passed away – yet his impetus defined the trajectory which led to the ongoing “Benediction” cycle. “…Part 2” follows that same line of transmission: stark, intuitive, and drawn from the same raw nerve Timo recognised at the beginning.

Comes in a 4-panel Digipak with black tray and with 4-page booklet.

4 panels digicd, 4 pages booklet.

This 2025 edition includes Diabolus Absconditus and Mass Grave Aesthetics.

4 panels digicd, 4 pages booklet.

This 2025 edition includes Chaining the Katechon and Le Diable est ma Raison.

Black vinyl, 32 pages booklet 30x30cm.

“Rejet” is one step further in Treha Sektori’s strife to transcend its own limitations. Each and every medium is linked together. All of the accompanying images are crucial factors for those who wish to understand “Rejet” – vestigial structures of these bodies, and testimonies of their burdens.

Fuelling the choice of the book format was the ironclad will to push ever-onwards – a sentiment deeply echoed in each of these tracks. The tunes themselves provide notation to mental images and help blur the borders between different sensory inputs.

The music morphs from abstract inspirations to percussive pulses: heartbeats and breaths, as if beseeching external energies. The soundscape shows greater compositional confidence than before, ranging from desperate primal screams to the acceptance of wounds and the structured chaos of a trance, with disenchanted voices murmuring in the background. It’s designed to bring you to a place where your feet are stuck in the mud and grime, while your spirit soars freely through the fog.

Conceived by MkM (Antaeus, ex-Aosoth), TerrorReign (Necroblood), and Arafel, the band once more calls upon the percussive force of Blastum to give their vision flesh. The result is an album shifting between brachial black/death violence and sickly, psychotic melody – arpeggio-driven passages and unnerving samples forming a fractured narrative. Mid-paced dirges erupt into furious outbursts, solos spiral from the gloom, and a suffocating atmosphere of torment lingers throughout.
 

Conceived by MkM (Antaeus, ex-Aosoth), TerrorReign (Necroblood), and Arafel, the band once more calls upon the percussive force of Blastum to give their vision flesh. The result is an album shifting between brachial black/death violence and sickly, psychotic melody – arpeggio-driven passages and unnerving samples forming a fractured narrative. Mid-paced dirges erupt into furious outbursts, solos spiral from the gloom, and a suffocating atmosphere of torment lingers throughout.
 

Copia nuova e mai ascoltata, arrivata con un lieve danno ad un angolo della copertina ed in quanto tale venduta in offerta

Copia nuova e mai ascoltata, arrivata con un lieve danno ad un angolo della copertina ed in quanto tale venduta in offerta

Herein are 6 songs of profound introspection and honesty, unbridled by norms or trends, adhering to tenents of belief that should resonate with the seeker, the curious, the outsider. ALTAR OF PERVERSION emerges from the void after twelve years of searching, reflection, shattering the known and invoking the unattainable in the quest for the numinous. Rather than scratching the surface, these songs reveal what lies beneath the surface and unravel the illustrious blackness within. This is the vision of Pan-European Satanism. This is timeless Black Metal as it was understood from it’s nascent core.

Copia nuova e mai ascoltata, arrivata con un lieve danno ad un angolo della copertina ed in quanto tale venduta in offerta

Spewed forth by a collective of serpents from the scorching south and sulphurous north of the Old World, Desert Psalms is an act of defiance – an offering to the lawless, the unruly, and the bright star rising in the eastern dawn.

A descent beyond the pale. Across its seven abominations, Desert Psalms drags the listener into howling darkness, where transgression and purification are one.

This is black metal in its most primal and adversarial form: venomous, unrepentant, seared in the flames of desolation. Both scourge and scripture, Desert Psalms is a baptism in bile and blood, stripping away all pretense until nothing remains but raw nerve and burning truth.

Envisioned by A.Ara of Angrenost, Desert Psalms is now manifested with the contribution of Misþyrming members Dagur Gíslason and Magnús Skúlason, Erdsaf of Angrenost, and Ólöf Rún Benediktsdóttir of Svartþoka.

Spewed forth by a collective of serpents from the scorching south and sulphurous north of the Old World, Desert Psalms is an act of defiance – an offering to the lawless, the unruly, and the bright star rising in the eastern dawn.

A descent beyond the pale. Across its seven abominations, Desert Psalms drags the listener into howling darkness, where transgression and purification are one.

This is black metal in its most primal and adversarial form: venomous, unrepentant, seared in the flames of desolation. Both scourge and scripture, Desert Psalms is a baptism in bile and blood, stripping away all pretense until nothing remains but raw nerve and burning truth.

Envisioned by A.Ara of Angrenost, Desert Psalms is now manifested with the contribution of Misþyrming members Dagur Gíslason and Magnús Skúlason, Erdsaf of Angrenost, and Ólöf Rún Benediktsdóttir of Svartþoka.

Teitanblood returns to claim underground metal’s most lawless frontier. “From the Visceral Abyss” is an all-engulfing tide of unfettered, raging chaos – where black and death metal collapse into a maelstrom of destruction. Its force is neither random nor aimless but guided by an instinct sharpened over decades.

This is Teitanblood at their most unhinged, yet wholly assured in execution. Dissonance and precision collide in monstrous, writhing riffs, underpinned by percussive violence that shifts between merciless blasting and dirge-like weight. Layer upon layer of bile-drenched vocals coil through the cacophony, forging a suffocating atmosphere of grotesque grandeur.

As ever, the album is steeped in the restless spirit of the late Finnish artist Timo Ketola, who stood as both interpreter and architect of Teitanblood’s visual world. Ketola’s oracular visions provided the scripture from which these lyrics emerged – his legacy not merely preserved but carried forth beyond the grave. The tradition of transmuting sound into imagery continues, with Dávid Glomba filling the booklet’s pages with a dense tapestry of illustrations, sigils, and hand-scribed invocations.

Teitanblood returns to claim underground metal’s most lawless frontier. “From the Visceral Abyss” is an all-engulfing tide of unfettered, raging chaos – where black and death metal collapse into a maelstrom of destruction. Its force is neither random nor aimless but guided by an instinct sharpened over decades.

This is Teitanblood at their most unhinged, yet wholly assured in execution. Dissonance and precision collide in monstrous, writhing riffs, underpinned by percussive violence that shifts between merciless blasting and dirge-like weight. Layer upon layer of bile-drenched vocals coil through the cacophony, forging a suffocating atmosphere of grotesque grandeur.

As ever, the album is steeped in the restless spirit of the late Finnish artist Timo Ketola, who stood as both interpreter and architect of Teitanblood’s visual world. Ketola’s oracular visions provided the scripture from which these lyrics emerged – his legacy not merely preserved but carried forth beyond the grave. The tradition of transmuting sound into imagery continues, with Dávid Glomba filling the booklet’s pages with a dense tapestry of illustrations, sigils, and hand-scribed invocations.

With its tenth full-length album, Svartsyn delivers a work rooted in both its present vision and primordial past. “Vortex of the Destroyer” unfolds in two intertwined chapters: four new compositions alongside six resurrected relics from Chalice, the entity that would become Svartsyn in 1994.

The first half of “Vortex of the Destroyer” embodies a refined yet relentless approach, shaped by instinct and hindsight alike. From the ruin of Atlantis to the flames of Surtr and Fenrir, these songs channel Svartsyn’s pursuit of apocalyptic grandeur – a descent into the abyss.

The latter half harks back to the autumn of 1992, breathing new life into six compositions first forged under the Chalice banner. Conceived at the dawn of the second wave of Black Metal, these tracks honour the band’s origins. Re-recorded with present clarity, their essence remains untouched: wild, sinister, and unmistakably Ornias.

With its tenth full-length album, Svartsyn delivers a work rooted in both its present vision and primordial past. “Vortex of the Destroyer” unfolds in two intertwined chapters: four new compositions alongside six resurrected relics from Chalice, the entity that would become Svartsyn in 1994.

The first half of “Vortex of the Destroyer” embodies a refined yet relentless approach, shaped by instinct and hindsight alike. From the ruin of Atlantis to the flames of Surtr and Fenrir, these songs channel Svartsyn’s pursuit of apocalyptic grandeur – a descent into the abyss.

The latter half harks back to the autumn of 1992, breathing new life into six compositions first forged under the Chalice banner. Conceived at the dawn of the second wave of Black Metal, these tracks honour the band’s origins. Re-recorded with present clarity, their essence remains untouched: wild, sinister, and unmistakably Ornias.