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The crown of thorns upon thy head. Blind and numb you wander the sinners path until enlightening comes upon you. Weary feet carrying thy broken legs towards Jerusalem. Incessantly searching for a never ending existence and craving for the good. And him is good. God.

From Hiob to Moses. From Noah to Jona. Relicts of long forgotten times guide the way through a meaningless life. A Legacy built on lies, death and decay. Our Legacy.

Approximately three years after it first arose to haunt the domain of the living with "Those of the Catacombs," Scolopendra again emerges from its Italian tomb to deliver its second full-length album, "VM18." Much like its predecessor, "VM18" draws notably on an inherited tradition first established by the band's compatriots in Death SS, by evoking a grotesque atmosphere that would befit an old RG horror comic of the 1970s set to motion picture. In fact, the cover art on both "VM18" and the debut are more than a subtle nod to this literary genre. Musically speaking, Scolopendra deviates from the style of Death SS to some degree by heavily incorporating the sound of ancient U.S. death metal, as perhaps most reflected in the work of Autopsy and Necrophagia. The tempo is primarily in the higher range, with occasional dives into doomier interludes. Driving bass lines are dominantly featured in the mix, as the guitars chug along with them and occasionally rise above with a well-timed lead. Of course, it is almost impossible to imagine a horror-based musical form without keyboards, and Scolopendra makes very effective and judicious use of them without going overboard. Finally, aside from their omission in the two instrumental tracks (not including the short intro), it is perhaps most likely the vocals that will leave the greatest impression on the listener. It is this element that contributes most to the overall grisliness of the sound, as the lyrics are seemingly disgorged from the decomposed vocal tract of an undead being. All told, "VM18" serves not only as a laudable follow-up to its predecessor, but also as a worthy descendant in a long and esteemed lineage of Italian horror metal.
 

With a history of metal steeped in horror and the occult - as previously established by bands like Death SS, Black Hole, and Mortuary Drape - Italy has proven itself a fertile breeding ground for extreme music that explores these themes. Formed in 2018, Scolopendra is the latest to continue in this tradition, as evidenced on its debut album, “Those of the Catacombs.” Unlike its Italian ancestors, however, who have more typically opted for the sounds of doom or black metal, the vehicle that Scolopendra has chosen to deliver its horror-tinged themes is that of death metal. This aspect adds an element to the band’s output that distinguishes itself from its predecessors, thus making it a unique addition to its genre. Consisting of two members with a history of many years of collaboration in several bands, including Abhor, Scolopendra boasts both the pedigree and chemistry to give “Those of the Catacombs” the deathly authenticity that is obvious upon first listen.

20th Anniversary release of Agalloch`s classic recording, now remastered and equipped with extended artwork in a nice package.
Collectors picture disc vinyl, limited edition!

Back in 2021, Blodtår caused quite a stir with their self-titled EP. The Swedish folk-black metal duo showcased an uncanny ability to tap into a musical current that is rarely captured these days – all the while infusing the formula with fresh and innovative ideas. Ever since, label and fans alike have been anxiously anticipating to see where they go next. The answer has now arrived, in the form of Blodtår’s debut album, “Det förtegna förflutna” (‘The secretive and quiet past’), and it does not fall short of expectations.

The pulsating core of “Det förtegna förflutna” is Carl’s masterful use of intricate riffing heavily inspired by Swedish folk melodies – played lightning-fast but without sounding upbeat. Blodtår forges the lo-fi black metal malice of Embassy-era Gorgoroth with the folkish grandeur of Windir and Dissection’s icy, melancholic melodies.

Gråande is a new project by Nachtzeit from Lustre – the Swedish icon of ambient black metal - who’s teamed up with vocalist and lyricist Nichil. The EP offers two dirges richly textured by droning riffs and dreamlike minimalism. The keyboards and melodies bear all of Nachtzeit’s hallmarks but stake out a path into more ominous territory. Thematically, “Gråande” explores what it means to lose your connection to nature and give in to darkness and death – both within and without.

Limited Edition Digipak CD incl. 8 page booklet.

Monachopsis Art is a trio that plays brutal and raw, yet hypnotic and hauntingly beautiful music straight from their woeful souls. The band was formed in 2022 by members from such bands as The Abbey, Henget, Shape of Despair and Licht des Urteils. The trio wanted to create music that is organic and raw, but still powerful and feeling-evoking - thus Monachopsis Art was born. 

N.K’s lyrical themes revolve around war, suicide and the meaningless struggles of human life. The music, written by J.H., is inspired by early first and second wave black metal bands such as Venom, Bathory and Burzum, but also more recent atmospheric black metal acts such as ColdWorld and Lustre.

Written by Luke Tromiczak and performed by a rotating group of musicians from across the United States, Blood and Sun are known for dark and haunting songs drawing heavily from Americana and neo-folk – likely to appeal to fans of everything from Of the Wand and the Moon and Steve Von Til to Wovenhand and Echo & The Bunnymen.

“Evigt främmande, evigt fjärran” is the seventh album of Sweden’s leading dungeon synth project, Örnatorpet. Modern music without the trappings of modernity; nostalgia and longing channelling the spirit both of timeless classics like Fata Morgana, Mortiis, and Wongraven and recent genre greats such as Erang, Old Sorcery, and Vindkaldr.

For those who believe the genre of dark dungeon music to be narrow, Örnatorpet stands as a living, breathing rebuttal. Each release has its own thematic foundation upon which the compositions rest. “Bergtagen” (2018) captures the sense of rustling leaves in autumnal woods. “Hymner från Snökulla” (2019) crackles with soul-piercing frost drawn straight from the heart of winter.

Lunar Chamber, a hitherto unknown being of mysterious consciousness, now present in the physical realm for the first time with debut manifestation ‘Shambhallic Vibrations’ , a tale of a journey eastward in search of enlightenment and what may lie beyond.

Ensconced in mysticism, the 5 track nearly 30 minute pilgrimage advances unflinchingly through insane crushing riffs, bewildering solos, tranquil acoustics and illuminated ascendent melodies. “Spirit Body and the Seeing Self” details the start of the journey, self analysis, and the attempts at launching oneself into said “beyond,” while “The Bodhi Tree” is a mirroring tale of Gautama Buddha himself, having meditated underneath it in Bodh Gaya approximately 2500 years ago, attaining enlightenment.

“III. Crystalline Blessed Light Flows… from Violet Mountains into Lunar Chambers” is the ultimate pinnacle of the tale. Having reached a spiritual plane, pulses of light and dark; the very fabric of space-time itself churns. Knowledge is abundant here. Eventually, one is brought full circle, right back where everything began in normal life; albeit with a new sense of everything. But there is so much more to learn… a yearning thirst.

Offering a deluge of jarringly brutal metal, overwhelming progressive physicality and instinctively accomplished memorability inspired by Buddhism, the East and esotericism, Lunar Chamber have just begun their quest of ascension and enlightened knowledge.