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Il carrello è vuoto
Il carrello è vuoto
There are few styles in metal so uniquely tethered to a particular place and time as that produced by a handful of Greek Black Metal bands in the early 1990s. Without question, the unholy trinity of this scene was composed of Rotting Christ, Necromantia, and Varathron. These three bands produced the most significant recordings in the canon of Greek Black Metal, and, to many fans and followers of the scene, Varathron’s 1993 debut LP, “His Majesty at the Swamp” represents the apex of the sound and spirit of Hellas’ contribution to the Black Metal genre. All of the representative traits of the style find their expression on this album – sonorous and melancholic guitars, the rich, occult atmosphere, ecstatic vocals, imbued with sinister intent, funereal keyboard flourishes, the bleak dampness of the production, the conjuration of a sense of abject solitude, and the somber pace of the tracks – aligned in perfect resonance with the pulse of Greek Black Metal. Having gone in and out of print several times through the years on various formats and in varying degrees of quality, band leader and original member, Necroabyssious, decided to issue a definitive version of “His Majesty at the Swamp” on his own label, Order of the Blood Dog. This version retains the mix and mastering that appeared on the original pressing of the album, but which was altered on some subsequent pressings, features all of the original artwork, and includes the lyrics as well as the original thanks list and credits.
Foul and Cruel -Perverse noise from Belgium..
Green tape.
official re-issue for this classic 90's Norwegian black metal demo
Nuclear War Now! is proud to present the pairing of two of the most abhorrent entities to have hoisted the label’s banner – Perverted Ceremony and Witchcraft (Fin) – with the release of “Nighermancie / Black Candle Invoker.” Each of these two cults is responsible for conjuring some of the most vile and sinister black metal of the current day, and this seven-track split recording reaffirms and further proliferates the starkly unembellished, primordial strain of black metal espoused by each to unmatched effect. The four tracks included from Perverted Ceremony were originally intended to be released as a demo, but it was later decided that they would better serve as the band´s contribution to a split. The term “Nighermancie,” as these four songs are collectively titled, translates from medieval Dutch into “the black arts” or “necromancy.” Admirers of the band’s previous works are sure to be pleased, as the same general recipe of songwriting, execution, and production is once again invoked. Witchcraft, with its offering, has resurrected three songs from a 2017 recording session that include an alternate version of the title track from that same year’s “Diablerie” demo and two previously-unreleased songs. As with the “Diablerie” demo and the more recent “Nightmare Goetia” demo, this recording exemplifies the continued evolution of Witchcraft’s sound, from that which was often described in oversimplified terms as an imitation of one of its primary influences, to one that more diversely reflects the band’s worship of the old Finnish, Brazilian, and Malaysian scenes. Beyond their impact on this release alone, these tracks also serve to increase expectations of what may come when a Witchcraft full-length is finally unleashed. Given the admiration that each of these band had already previously garnered, “Nighermancie / Black Candle Invoker” proves that the outcome of such a seemingly ideal pairing can even surpass its anticipated result.
Individual songs tend to abruptly alternate between blisteringly-fast and hypnotically-languid tempos. In combination with the unsettling effect of these contrasting tempo shifts, the riffs further disorient the listener with their unyielding and cyclical progressions among atonal, tremolo-picked chords and dissonantly arpeggiated sequences of notes.
Grey vinyl, Including vinyl sticker+ poster
Conjuring the sinister spirits of yesteryear, Moenen of Xezbeth rises to deliver its first full incantation of mid-paced black metal, “Ancient Spells of Darkness…,” with its seven arcane invocations primed to unleash their plague on all who bear witness. Captured with the same approach and under the same austere conditions as its preceding demo and EP, “Ancient Spells of Darkness…” thus realizes the same unearthly effect, yet it is even more sinister and oppressive. These foreboding hymns serve as a conduit for the return of the original black flame, which was first sparked by Moenen of Xezbeth’s revered forbearers, has since nurtured itself in the underworld, and is now emboldened to return in its dark glory.
What makes this release particularly unique is the first-time inclusion of the track “Victory (Son of the Damned),” from which the rehearsal now derives its name. In fact, the track is included in two consecutive iterations, as it was played back-to-back during the session in preparation for the song’s live debut at the following Anza Club gig. Another feature of this recording is the between-song banter among the band and guests alike, including members of Black Witchery, who attended the rehearsal. Given the length of the session, the newly-mastered audio of the vinyl version comprises the first three sides of the DLP, and the fourth boasts a blasphemous etching.
What makes this release particularly unique is the first-time inclusion of the track “Victory (Son of the Damned),” from which the rehearsal now derives its name. In fact, the track is included in two consecutive iterations, as it was played back-to-back during the session in preparation for the song’s live debut at the following Anza Club gig. Another feature of this recording is the between-song banter among the band and guests alike, including members of Black Witchery, who attended the rehearsal. Given the length of the session, the newly-mastered audio of the vinyl version comprises the first three sides of the DLP, and the fourth boasts a blasphemous etching.
Active since 2010, Finland’s Oksennus have already produced a staggering body of work. Through a series of demos and full-length cassette releases, the band painstakingly carved out a place in the underground landscape that has been largely untouched and uncorrupted. Stylistically eccentric, Oksennus’ music is a controlled departure from the constraints of genre, and, yet, the band nevertheless remains properly steeped in tradition. With this new album, Oksennus’ ambitious tendencies are on prominent display. “Kolme Toista” is as bold an artistic proclamation as one could expect in metal without stretching the fabric of the genre so thin as to leave it threadbare.
