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Although they made their public debut in 2020 with the full-length ...gedenken wir der Finsternis, EISENKULT have quickly become a flagship band for PURITY THROUGH FIRE. Perhaps it's not surprising given that they include members of labelmates MAVORIM and TOTENWACHE, but EISENKULT's swift ascent was built on the back of that first full-length and the successive ...von Himmel, hoch herab album and a split with new labelmates ATRONOS, these collective recordings displaying the purest Teutonic BLACK METAL steel: proudly and unapologetically traditional, forged in the fire of the mid '90s but by no means blinkered by the past - and of course, perfect for PURITY THROUGH FIRE's banner.

Striking while the iron's white-hot, EISENKULT now unleash their fourth recording in as many years, Vulgäre, deutsche Hassmusik. For those with even a faint familiarity with German, the title to EISENKULT's third album should roughly & rudely say everything it needs to - indeed, a steel-toed assertion of the trio's core values. But whereas the preceding full-length upped the folkloristic side of their second-wave classicism, EISENKULT further finesse that side with their latent hooliganism: instantly catchy, almost major-chorded in its triumphant surge, but still a tragic element coursing through their medieval surge. And whereas the band employed evocative 8-bit-styled intros on their preceding records, here on Vulgäre, deutsche Hassmusik do they integrate those baroque textures across the whole album, thereby making the 40-minute work that much more stunning as well as unique. Again, very much BLACK METAL in all caps, but also respectful  enough of the artform to gird it with stouter and arguably more stunning chainmail.

From their first two demos in 2018 and then their breakout self-titled debut album the following year, NACHTIG have stormed the gates of sadness with some of the most soul-penetrating black metal melancholy of recent times. Mainman V. V. is no stranger to the scene, of course, numbering as he does labelmates VALOSTA VARJOON and COSMIC BURIAL, but NACHTIG is arguably his most personal project, on myriad levels. The successive Der stille Wald full-length in 2021 proved this with a passion and poignancy that was spellbinding - and spellbindingly SAD - to behold. 

That album maintained a monolithic aspect at a towering 55 minutes, and thus does NACHTIG return with a comparatively more compact record in Eisig' Romantik. It's still epic, to be sure - four songs in 45 minutes, each one hovering around the 11-minute mark - but it's the sensations within that truly render the album an EPIC of breathtaking, daresay-beautiful sadness. Its predecessor spiritually nodded to early '90s doom-death, with the Spartan piano of yore largely replaced by a haunting fog of synths; Eisig' Romantik maintains a purer black metal core, but the synths hover ever more dramatically here, often directing the crescendo of emotion to cathartic heights - or, rather, depths. But it's V. V.'s characteristically heartaching riffing that really pushes the record into the halls of greatness, as layers of majestically melancholic riff seamlessly twine into said synths and utterly damning catharsis continues as each minute builds and blends and builds some more, all without dipping down the tempo. There's actual energy to this sadness, and it MOVES.

From their first two demos in 2018 and then their breakout self-titled debut album the following year, NACHTIG have stormed the gates of sadness with some of the most soul-penetrating black metal melancholy of recent times. Mainman V. V. is no stranger to the scene, of course, numbering as he does labelmates VALOSTA VARJOON and COSMIC BURIAL, but NACHTIG is arguably his most personal project, on myriad levels. The successive Der stille Wald full-length in 2021 proved this with a passion and poignancy that was spellbinding - and spellbindingly SAD - to behold. 

That album maintained a monolithic aspect at a towering 55 minutes, and thus does NACHTIG return with a comparatively more compact record in Eisig' Romantik. It's still epic, to be sure - four songs in 45 minutes, each one hovering around the 11-minute mark - but it's the sensations within that truly render the album an EPIC of breathtaking, daresay-beautiful sadness. Its predecessor spiritually nodded to early '90s doom-death, with the Spartan piano of yore largely replaced by a haunting fog of synths; Eisig' Romantik maintains a purer black metal core, but the synths hover ever more dramatically here, often directing the crescendo of emotion to cathartic heights - or, rather, depths. But it's V. V.'s characteristically heartaching riffing that really pushes the record into the halls of greatness, as layers of majestically melancholic riff seamlessly twine into said synths and utterly damning catharsis continues as each minute builds and blends and builds some more, all without dipping down the tempo. There's actual energy to this sadness, and it MOVES.

By now, the name MAVORIM should be more than familiar to those who follow the crimes of PURITY THROUGH FIRE. Since the band's formation in 2014, mainman Baptist has restlessly and relentlessly pursued his stark, austere style of black metal, resulting in three full-lengths and seven other shorter-length works. Collectively, MAVORIM have quickly come to define the new breed of German black metal that hearkens back to the old guard: Teutonic to the bone, harsh and harrowing yet heralding triumph. 

And so the battle wages on with MAVORIM's fourth album, Ab Amitia Pulsae. Immediately and dramatically, this is classic MAVORIM - charging hard onto the battlefield, bloody swords raised, rough-yet-rousing melodicism to the fore, with Baptist's gruff, exhortative throat leading the charge - but as Ab Amitia Pulsae plays on, new vistas of their signature sound are revealed. While still qualitatively a black metal record, MAVORIM's fourth album displays deft layering of sounds, particularly Baptist's subtle-yet-concerted integration of keyboards and other synth sounds, altogether adding an exceptionally dynamic contour to otherwise-straightforward aggression. Further, his guitar leads display a much wider swath of feeling as well as texture, each song seemingly featuring something quite new in the greater MAVORIM dialect, while drumming co-conspirator Valfor occasionally add his choral voices to poignant effect. And it's gripping and urgent all the way through to the 53-minute album's end...again and again and again.

At times tragic, at times folkloric, melancholy giving way to bloodlust, Ab Amitia Pulsae proves once again that MAVORIM are uniquely adept at fully coloring within the lines of black metal with the boldest and bravest hues.

Black Vinyl

By now, the name MAVORIM should be more than familiar to those who follow the crimes of PURITY THROUGH FIRE. Since the band's formation in 2014, mainman Baptist has restlessly and relentlessly pursued his stark, austere style of black metal, resulting in three full-lengths and seven other shorter-length works. Collectively, MAVORIM have quickly come to define the new breed of German black metal that hearkens back to the old guard: Teutonic to the bone, harsh and harrowing yet heralding triumph. 

And so the battle wages on with MAVORIM's fourth album, Ab Amitia Pulsae. Immediately and dramatically, this is classic MAVORIM - charging hard onto the battlefield, bloody swords raised, rough-yet-rousing melodicism to the fore, with Baptist's gruff, exhortative throat leading the charge - but as Ab Amitia Pulsae plays on, new vistas of their signature sound are revealed. While still qualitatively a black metal record, MAVORIM's fourth album displays deft layering of sounds, particularly Baptist's subtle-yet-concerted integration of keyboards and other synth sounds, altogether adding an exceptionally dynamic contour to otherwise-straightforward aggression. Further, his guitar leads display a much wider swath of feeling as well as texture, each song seemingly featuring something quite new in the greater MAVORIM dialect, while drumming co-conspirator Valfor occasionally add his choral voices to poignant effect. And it's gripping and urgent all the way through to the 53-minute album's end...again and again and again.

At times tragic, at times folkloric, melancholy giving way to bloodlust, Ab Amitia Pulsae proves once again that MAVORIM are uniquely adept at fully coloring within the lines of black metal with the boldest and bravest hues.

Nuovo lavoro per gli HYRGAL, band appartenente alla scena BLACK METAL norvegese. Il quartetto ha all’attivo tre album e, dopo alcuni cambi di
formazione, torna con il nuovo “Sessions Funeraires – Anno MMXXIII”, con  6 brani di furioso BLACK METAL, sparato a 100 con istinto omicida, tra i quali
spicca una cover dei Marduk. Il lavoro è disponibili in CD in tiratura limitata a 700 copie in confezione DIGIPAK!

AUTUMN TEARS, acclamato gruppo SYMPHONIC DARK GOTHIC internazionale, torna con il suo lavoro più grande e ambizioso.
“Guardian Of The Pale” è un doppio album di musica sinfonica realizzato con un ensemble di musica classica ed un coro completo e le
canzoni più epiche della band! La formazione di oltre 70 musicisti e cantanti include innumerevoli compositori, pianisti e cantanti classici,
arrangiatori e sound designer, tra cui il duo di archi Severndeo. Tra gli ospiti speciali figurano Francesca Nicoli del gruppo neoclassico italiano
Ataraxia, Agnete Mangnes Kirkevaag del gruppo progressive metal norvegese Madder Mortem e la cantante lirica Ann-Mari Edvardsen Alexis (ex-The 3rd and the Mortal

Comes with gatefold cover, printed innersleeve, A2 poster, download and special vinyl mastering, limited to 333 copies on moss green/black galaxy vinyl.

"20 Jahre", or simply "XX", as it is also called, is a special release with selected songs from the very early days of Horn that were completely redone and re-recorded in the current Horn style, making this sound almost like a brand new album. It is a co-release between Horn and Northern Silence Productions

Includes a printed innersleeve and download, limited to Blue Vinyl.

The images are digital mockups. The actual vinyls may look slightly different.

Lunar Spells is a Greek Black Metal band formed in Athens in 2020, by Cryptic (guitar, vocals, synths), K.C.H (bass) and V.T (drums). Both musically and lyrically, Lunar Spells stays close to the roots of Scandinavian "old school" Black Metal. Lyrical subjects thus often deal with darkness, depression, misanthropy and hate. After their first EP recording Medieval Shadows from an Ancient Netherworld (2020), the line-up was augmented by Atxak on vocals for the debut album "Where Silence Whispers". On the new album Cryptic has taken over vocal duty again.

Australian death metal monstrosity IMPETUOUS RITUAL will unleash their new album “Iniquitous Barbarik Synthesis” on May 12th. “Iniquitous Barbarik Synthesis” is the follow-up to 2017’s “Blight Upon Martyred Sentience” and presents itself as the most unnatural, abnormal, and nightmarish IMPETUOUS RITUAL offering yet.

Nine tracks of uncanny metaphysical ambient death metal terror.

Ascended Dead return like abyss winds surging skyward from the ninth circle of Hell. New album Evenfall Of The Apocalypse heralds the dawn of the final march to extermination via barely-controlled death metal chaos and form-destroying necromancy.

Ascended Dead play death metal the ancient way with an intrinsically malign pedigree and methodical cruelty scarcely heard nowadays. Flesh-peeling intensity at warp-speed, technically-frenzied leads that cut straight through bone and a relentless annihilating force that rarely ceases long enough to take a breath. Yet amidst this fiery conflagration a wholly deliberate and fanatical attention to detail and craft remain undeniable, allowing the pandemonium a distinct structure and memorability.

While the band has more than enough skill and ability to perform a darkly acoustic piece like “Passage To Eternity,” a rare moment of respite, repeated spins through Evenfall Of The Apocalypse only serve to perpetuate Ascended Dead’s inexorable place at the vanguard of violent real death metal, carrying the banner into the future.

Ascended Dead return like abyss winds surging skyward from the ninth circle of Hell. New album Evenfall Of The Apocalypse heralds the dawn of the final march to extermination via barely-controlled death metal chaos and form-destroying necromancy.

Ascended Dead play death metal the ancient way with an intrinsically malign pedigree and methodical cruelty scarcely heard nowadays. Flesh-peeling intensity at warp-speed, technically-frenzied leads that cut straight through bone and a relentless annihilating force that rarely ceases long enough to take a breath. Yet amidst this fiery conflagration a wholly deliberate and fanatical attention to detail and craft remain undeniable, allowing the pandemonium a distinct structure and memorability.

While the band has more than enough skill and ability to perform a darkly acoustic piece like “Passage To Eternity,” a rare moment of respite, repeated spins through Evenfall Of The Apocalypse only serve to perpetuate Ascended Dead’s inexorable place at the vanguard of violent real death metal, carrying the banner into the future.