CD

Six-panel digipack

Planet Nine is "The Degenerate Era" twin release: a lenghty minialbum with two extra songs not featured in the album

Four panels digipack

This is the solo project by Uada founding member and guitarist James Sloan, a kaleidoscopic black metal creature deeply rooted in the depressive black metal sounds of the Nineties.
The Sorcerer’s Sorrow is Anachitis very debut, where obscure, minimal synths pave the way for obsessive guitar riffs and desperate shrieks recounting a tale of despair and self destruction. In Sloan’s words, “There is an underlying story here being told backwards of someone who desperately seeks answers to escape the pain of existence through esoteric practices, but finds nothing but a path to total self destruction”.

Void Paradigm call their black metal dodecatonic,as Payan often relies on a twelve-scale composition technique, a method of composing with twelve tones which are related only with one another developed in the early XX Century. As Payan puts it: “As I try to experiment new ways of making black metal, I sometimes write the music literally on the desk and not searching for riffs on the guitar. I have a classical composition education so I try to compose like this, writing before playing, in order to break the automatic riffing and to try and go somewhere else”.
“Ultime Pulsation”, the ultimate pulse, “evokes the unavoidable fall towards this final pulse of the world, of humanity, of civilisation, which seems to get closer and closer. “Demain Brûle” is "Tomorrow Burns", a personification which becomes something or someone hostile, unsafe, hazardous. Such are the feelings Void Paradigm bring into their music, a forceful, rabid and yet educated black metal. 

Collector's edition in clamshell box including CD with bonus tracks 'Hrollkalda Þoka Einmanaleikans' and 'Hann fór Sjálfur' in Digipak with 20-page booklet + black teddy cloth wristband with embroidered SOLSTAFIR logo in white + printed fake-leather magnet + black webcam cover with white SOLSTAFIR logo.
All items are exclusive to this collector's edition!

Music will always be inspired by the environment in which it is created.
With its incredible array of highly diverse landscapes ranging from white glaciers via volcanic bizarreness, moss-green bubble-fields, deep fjords, and frost-cracked mountains to black beaches, Iceland has shaped a host of astonishingly original in SÓLSTAFIR.

More than ever, SÓLSTAFIR’s new opus ‘Endless Twilight of Codependent Love’ highlights the contrasting influences that have inspired the band over the years. Whether you’re listening to the black metal infused “Dionysus”, “Her Fall From Grace”, the gracious song “Til Modar” or a straightforward SÓLSTAFIR masterpiece “Akkeri”, the Icelanders have mastered all these elements and blended it seamlessly into one record.

DIGI-2xCD

Pentagrammaton was recorded under miserable conditions in genuine affliction, torment and chaos above all in Necromorbus Studio anno 2005. Mixed and mastered originally & remixed and remastered in 2020 by Tore Stjerna. Track 3 written by Atum. Track 7 written by Chivah. All other tracks written by Belfagor. All lyrics written by Belfagor, except “Unfolding Paradox in Final Redemption” which was written by Moloch.

On this recording session Ofermod was:
Belfagor: Guitars
Moloch: Vocals
Tehom: Bass
Chivah: Drums

The full version of their classic 4 track 1995 demo, also including alternative versions of each song finally available on LP, CD & MC. 

Accursed Possession, the second album from unholy duo CULTUS PROFANO, is perfectly cold and evil old-school Black Metal.

First batch comes in black polycarbonate CD.

Simply titled but by no means simple in construction nor execution, Djinn builds upon the increasingly ambitious songwriting of its no-less-considerable predecessor, but pushes their dazzling artistry into nearly Technicolor landscapes of the Beyond. Upon the first opening notes, this boundless artistry is felt: big, rolling rhythms reminiscent of post-punk, tantalizingly setting the stage for the splendorous expanses to follow. There's a certain magick at play here, no doubt bolstered by the band's rhythm section of Josiah Babcock (who puts in his final performance here) and new bassist Nate Verschoor, erstwhile mainman of Veiled; this throttling-yet-deft foundation both leads and plays acute counterpoint to the spiraling, windswept riffing of founders Jake Superchi (also vocals) and James Sloan, their guitar work transcending the poignancy of prior works. And indeed, Djinn's generous six-song/hour-long runtime no doubt allows the listener the ultimate freedom to roam within Uada's ever-unique world, spanning both smothering speed and deliriously dream-like states, Very Metal urgency and textural exploration alike - put simply, the band at the height of their creative powers. Djiin is truly its own realm of experience.

"Djinn, first inhabitors of this world, the smokeless fire and those we call upon our enemies, has gifted us a 60-minute descent into the modern-day possessions of our existence and demise," state the band, "A duality that can only be known as our third wish."

Classic Jewel-Case Edition with Slipcase and additional two-sided 24x24cm Post

Harvest is an ode to Valkenstijn's beloved Thuringian homelands. It takes us on a journey through misty woods and foggy nights, when the golden sunlight of late summer must give in to the autumnal cold that starts rising from the ground, when the warmth of summer must yield to the chilling breeze that heralds the end of the year, when the light must give in to the dark.

To complete the autumnal feast the orignal Samhain Celebration song cycle was added, which complements the early material and advance it to a full-length duration. The recordings were thoroughly reinvigorated without losing their original appeal by Valkenstijn in May MMXX at his House of Inkantation.

recensione di metalitalia (clicca qui)

"Il viaggio eclettico dei White Ward riprende con un secondo full-length, questa volta volto a solcare il grigiore delle strade cittadine, riprendendo il discorso dove era stato lasciato ma riscrivendolo con un tono di luce e cromature stravolti rispetto all’ottimo debutto, “Futility Report”. Il senso di disincanto resta intatto, e quello che a un primo ascolto sembra un venir meno dell’effetto sorpresa (l’afflato trip hop, il sax, il jazz, le aperture non metal già riscontrabili in precedenza) è in realtà un approccio diverso alla materia, una riscrittura del proprio nucleo, una revisione, se vogliamo, del proprio punto di arrivo. Il post black precedentemente affrontato in maniera più diretta dagli ucraini diventa qui un metal estremo sperimentale di più ampia definizione, una discussione musicale che studia se stessa e cambia i connotati di una propria opera senza volerne svilire i punti cardine ma volendo riattualizzarne i tratti di fronte ad un tema diverso. Sono assolutamente necessari ascolti ripetuti per entrare nell’ordine di idee del nuovo disco dei White Ward, un trip intriso di depressione urbana, di dissolutezza cosmopolita all’ombra delle insegne di negozi 24/7, dei casino aperti tutta la notte, di rotaie e taxi sempre disponibili; racconti di sguardi solitari affacciati a una finestra, testi esistenziali piuttosto efficaci e una resa sonora che, come già detto, all’inizio sembra lasciare un po’ di amaro per il suo non stupire come il debut faceva, e che invece giro dopo giro sul lettore porta il discorso a dilatarsi e a perdersi tra i vicoli oscuri di una metropoli. “Love Exchange Machine” parla di sfaccettature, di colori che cambiano e che si perdono e poi si confondono, di sottili confusioni, di sagome non distinguibili e che cambiano forma ad ogni passo verso di loro. Tra aperture ferocissime, giri quasi new wave, assoli di sax e strumentali di sole tastiere, i White Ward continuano a produrre della musica di non facilissima assimilazione, complessa, densa (sette brani per più di un’ora di musica), certamente non per tutti ma non per questo troppo elitaria, che alza l’asticella del genere di un’altra tacca."