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“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”

Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay.

“Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.”

Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year. “Fortunately, all of the recordings for Decay were completed long before the surgery, vocals included… although the back end of a couple of songs were recorded with the hernia itself, and that was a struggle. I was already aware that the GODFLESH shout, so to speak, was exacerbating the hernia greatly, as was every GODFLESH performance in the lead-up to the surgery once the hernia appeared, and the hernia was mostly caused by year upon year of shouting in GODFLESH. The album was mixed post-surgery, and while I was still in some pain and considerable discomfort, but fortunately GODFLESH is generally me expressing my pain, albeit [usually] mental, philosophical and existential, whereas this was physical pain.”

While the middle of the record pulses with five-minute hate-grooves, Broadrick credits the slime-wracked opener “Master and Slave” and crawling closer “Consume Me” with Decay’s true conceptual thrust. “The bookends of Decay are the most important pieces to me. They say it all, so to speak; the album could have been just those two songs alone – the duration of them is half of the total album!”

As GODFLESH's active tenure comes to a close, Broadrick expresses gratitude that it was ever his vessel to use as he willed. “It expresses my pain, and I’ve put my body and soul into this expression for the majority of my existence. I feel quite lucky, because Godflesh is now physically impossible for me, rendering it useless. I now wish to move out of its constraints, move on creatively with heavy/ugly music to new ground.”

Shadow Records (distributed and marketed by Regain Records) proudly presents the reissue of Sorhin's debut EP, Skogsgriftens rike on LP and CD formats. Originally released in 1996, Skogsgriftens rike marks the beginning of Sorhin's journey into the pantheon of Swedish black metal, laying the foundation for the cult full-length albums “I det glimrande mörkrets djup” and “Apokalypsens ängel”. Even at this early stage, the band's identity was fully formed, a cold, evocative and unmistakably Nordic vision that would become their enduring hallmark. Nearly thirty years on, Skogsgriftens rike still stands as a monument to the cold majesty of 1990s Swedish black metal, untouched by time, uncompromising in spirit, and as haunting as the northern wilderness that inspired it. Formats: 12" vinyl LP (black vinyl) -Sturdy 300gsm vinyl-sleeve with bronze pantone print -Vinyl insert -Double-sided A2 poster -Limited to 400 copies on black vinyl -CD jewelcase -8 page booklet

Shadow Records (distributed and marketed by Regain Records) proudly presents the reissue of Sorhin's debut EP, Skogsgriftens rike on LP and CD formats. Originally released in 1996, Skogsgriftens rike marks the beginning of Sorhin's journey into the pantheon of Swedish black metal, laying the foundation for the cult full-length albums “I det glimrande mörkrets djup” and “Apokalypsens ängel”. Even at this early stage, the band's identity was fully formed, a cold, evocative and unmistakably Nordic vision that would become their enduring hallmark. Nearly thirty years on, Skogsgriftens rike still stands as a monument to the cold majesty of 1990s Swedish black metal, untouched by time, uncompromising in spirit, and as haunting as the northern wilderness that inspired it. Formats: 12" vinyl LP (black vinyl) -Sturdy 300gsm vinyl-sleeve with bronze pantone print -Vinyl insert -Double-sided A2 poster -Limited to 400 copies on black vinyl -CD jewelcase -8 page booklet

Demo and rarities collection.

15 remastered tracks! 8 tracks have never been released on CD before and 1 completely exclusive song.

Curated by the band. Officially licensed from Theatre Of Tragedy.

Limited to 500 copies
Super Jewel Box
16 page booklet on uncoated offset paper stock

MODERN RITES are the Industrial Metal duo of guitarist Berg (AARA) and multi-instrumentalist/vocalist/lyricist Jonny Warren (KUYASHII).

Building upon acclaimed 2021 debut "Monuments", new album "Endless" unifies, elevates and perfects the band's vision, ebbing and flowing between oppressive isolation and furious optimism in an anthemically intense exploration of the human condition.

Comes housed in a 3mm single jacket, including two 12" insert and a download card.
Limited to 250 copies.

Red With Black Marble

"Esoterik" finds Jason Köhnen's BONG-RA continuing the alchemical evolution that has defined his most adventurous work. A spiritual successor to 2025's "Black Noise", the record delves deeper into the shadows and luminescence of the occult, expanding the ritualistic atmospheres explored on "Antediluvian" (2018) and "Meditations" (2022) while forging a harsher, more industrial sonic architecture.

Comes with a download card. Pressed on transparent orange with black smoke heavy vinyl. Colors on final record may vary to a degree from the mockup.

"Esoterik" finds Jason Köhnen's BONG-RA continuing the alchemical evolution that has defined his most adventurous work. A spiritual successor to 2025's "Black Noise", the record delves deeper into the shadows and luminescence of the occult, expanding the ritualistic atmospheres explored on "Antediluvian" (2018) and "Meditations" (2022) while forging a harsher, more industrial sonic architecture.

Copia nuova e mai ascoltata, ma arrivata con un danno ad un angolo della copertina gatefold! in quanto tale la vendiamo al 50% di sconto!

perfetto per chi da più importanza alla musica che non alla perfezione delle copertine! e per chi non disdegna un deciso risparmio

Reissue in lilac red splatter vinyl lim. to 300 numbered copies+ bonus track & poster

“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”

Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay.

“Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.”

Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year. “Fortunately, all of the recordings for Decay were completed long before the surgery, vocals included… although the back end of a couple of songs were recorded with the hernia itself, and that was a struggle. I was already aware that the GODFLESH shout, so to speak, was exacerbating the hernia greatly, as was every GODFLESH performance in the lead-up to the surgery once the hernia appeared, and the hernia was mostly caused by year upon year of shouting in GODFLESH. The album was mixed post-surgery, and while I was still in some pain and considerable discomfort, but fortunately GODFLESH is generally me expressing my pain, albeit [usually] mental, philosophical and existential, whereas this was physical pain.”

While the middle of the record pulses with five-minute hate-grooves, Broadrick credits the slime-wracked opener “Master and Slave” and crawling closer “Consume Me” with Decay’s true conceptual thrust. “The bookends of Decay are the most important pieces to me. They say it all, so to speak; the album could have been just those two songs alone – the duration of them is half of the total album!”

As GODFLESH's active tenure comes to a close, Broadrick expresses gratitude that it was ever his vessel to use as he willed. “It expresses my pain, and I’ve put my body and soul into this expression for the majority of my existence. I feel quite lucky, because Godflesh is now physically impossible for me, rendering it useless. I now wish to move out of its constraints, move on creatively with heavy/ugly music to new ground.”

Emerging once again from the abyssal depths of the underground, FOSSILIZATION return with "Advent of Wounds", a work of sheer ferocity and oppressive gloom! A relentless onslaught where its frantic and inexorable rhythms hammer with suffocating intensity, while riffs coil like sepulchral invocations in a maelstrom of death, doom, and blackened chaos.
Bleak, crushing and claustrophobic, "Advent of Wounds" is a summoning of despair that drags the listener into a chasm where brutality and anguish entwine. A suffocating testament to extremity that confirms Fossilization as one of the most formidable forces in contemporary death metal!