CD

• Four panels digipack Limited to 200 copies
  
  Includes unlimited streaming of Salt via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

This is a preorder: release date is set to June, 9

2012's 'Random Friday' is one of the most popular Solar Fields albums ...and here it comes back to life again, as usual with a state of the Art remastering by Robert Elster @Elster Mastering and revamped in a 6 panels digipak CD in case you missed the original compact disc edition  (as well as treated for the first time for a vinyl release).

Mythos’ ’Pain Amplifier’ album is shredding, Finnish death black Metal of the highest calibre. Featuring former Belial guitarist Jukka Valppu, Mythos burst onto the scene almost out of nowhere with one of the heaviest albums in extreme metal history. Mikko Laurila's vocals sound almost as if he literally vomited them forth, and the music is tight and surprisingly catchy considering the ultra brutal nature of the whole thing. Pain Amplifier was the only full-length from this band, this is a fitting monument to the annals of Death Metal history especially with the flowing melodicism of black metal. Originally released in 1995, recorded a Tico-Tico Studio in Kemi, Finland by Ahti Kortelainen (Impaled Nazarene, Sentenced, Wintersun). Special liner notes by Luxi Lathinen (journalist for the Metal Crypt since 1999) and new booklet design.

October Tide was a side project formed by two members of Katatonia with their style not at all far removed from that fine group. Melancholic, sorrowful mid-paced metal, with death metal vocals laid over the top. Jonas Renske performed the vocals on 'Rain Without End' like he did on all early Katatonia albums, intense, deep and very atmospherical. The October Tide line-up during ’Rain Without End’ was: Fredrik Norrman: Electric, acoustic and bass guitars and Jonas Renske: Drums, electric and acoustic guitars and all vocals.  This special re-issue has both the original recordings and mix from Unisound from 1995 AND the re-mastered by Dan Swanö, Winter 2007- 2008 version songs. 14 tracks in total.

What would be the combination / hybride  of Infernal Majesty and Blasphemy, two leading and intense extreme metal bands from Canada. And both are responsible for mile-stone albums in their genres. Well, when ex Infernal Majesty vocalist Brian Langley (also ex-Aggression, Canada) and guitar player Marco Banco (known as ‘The Traditional Sodomizer of the Goddess of Perversity’ from the cult Blasphemy album Fallen Angel of Doom....) joined to form band called Tyrants Blood, you will get close. This blasting death / black / trash metal band featuring Blasphemy / Infernal Majesty ex members released three full length albums and a handful of splits and ep’s. Vicrecords now re-issued the initially limited edition self-released third album ‘Into the Kingdom of Graves’ originally from 2013. Cover-art by Paolo Girardi (Firespawn, Aeon, Inquisition and Manilla Road) and liner notes by Brian Langley. Guest bass and mixed and produced by Martin Meyer (ex-Aggression, ex-Disciples of Power). Drums recorded by Terry "Sho" Murray (Infernal Majesty, 3 Inches of Blood).

The colour of every FEN album points towards its lyrical and musical content. For the first time in their career, the East Anglian post-black metal trio has used the colour red on the cover artwork of their seventh full-length "Monuments to Absence". FEN describe the album as an expression of anger, hopelessness and despair – anger at the desperate futility of a human species hell-bent on self-destruction. This is reflected in the decidedly harsh and black sound of "Monuments to Absence", which is undoubtedly FEN's most extreme recording to date, even though there are still moments of atmospheric glory, spatial clean sections, heaving doom, and full-blown riffs, which augment the furious expression of rage. FEN took their name from the Fens of East Anglia when the trio formed in 2006. These desolate and bleak landscapes have left a deep mark in the post-black metal sound, which the band pioneered in the UK when the English scene revitalised in the wake of forerunners FOREFATHER with bands such as FEN, WINTERFYLLETH, and WODENSTHRONE coming to the fore. When FEN released their debut full-length "The Malediction Fields" (2009), the band made good on the huge promise of their previous EP "Ancient Sorrow" (2007) by delivering a first album that already combined the black metal tradition elegantly with a dedicated atmospheric twist and gentle experimentation beyond the perceived narrow confines of their genre. With each following full-length, from "Epoch" (2011), via "Dustwalker" (2012), "Carrion Skies" (2014), "Winter" (2017) to "The Dead Light" (2019), FEN have expanded both their musical range and following, while also perfecting their recognisable and unmistakable sound. "Monuments to Absence" marks FEN's welcome return to a dark and fierce sound.

Registrato tra il 2014 e il 2019 in vari concerti della band in USA, Europa e Australia, ‘Trouble And Their Double Lives’ è prodotto, mixato e masterizzato da Scott Atkins ai Grindstone Studios di Suffolk (UK).

La release conterrà inoltre due nuove tracce in studio: ‘She is a Fire’ e ‘Demon Prince Regent’.

Originally released as a picture disc only “Totentanz” is re-issued via Back On Black on all formats. Totentanz (Dance Of The Dead) was recorded live on December 12th, Essen Germania 2001.

Jewelcase

Reissue of the band's fantastic debut album from 1999 with original artwork and revised layout including all lyrics, extensive liner notes and many photos from the early days.

The CD comes as Collector's Edition in 4-panel digipack with 8-page booklet, limited to 500 copies, and includes the "Rabenflug" demo from 1996 as exclusive bonus tracks.

"Reign of Tempests" is a genuine classic of German Melodic/Symphonic Black Metal and an absolute must have for all fans of this genre. Pure 90s nostalgia!!

Both album and demo were meticulously restored and remastered for optimal sound on CD as well as vinyl by Patrick W. Engel at Temple of Disharmony in 2022.

Re-released with kind permission from DIES ATER and now available for the first time ever on vinyl and as DigiCD with the original artwork!

Il nuovo disco di CIGNO inizia come un sabba scatenato, inizia con l’orrore. L’orrore di chi si confronta con il distacco del proprio superiore, sia esso un’entità, un capo od un partner. Sembra che il campo d’azione, rispetto all’esordio, sia definitivamente tracimato, andando a cogliere l’intera vita, nelle sfere che la compongono, come atto drammatico e di rottura. Sin dall’immagine di copertina veniamo schiaffati davanti all’immenso, quasi gettati negli antri più oscuri dei cammini danteschi. Le percussioni, la pece e le chitarre urlanti fanno poi il resto. Un grand guignol composto da diverse pietanze, stanze e sostanze

A tratti fa paura, una paura da brividi: Pax è da brividi sulla schiena, Ogochukwu mette in mostra una giostra del dolore abietta, una Frate Dolcino vengono amputati naso e pene, una Censure e torture. Stefano cucchi tra le fiamme. Vien voglia di urlare, bestemmiare e tirar testate contro il muro per distogliersi dalle quintalate di merda sparsa in questo disco, diretta a testa e cuore, ricoprendoci di lordume.
È un brutto mondo, dipinto da un disco splendido.

Buio. Si accende un fiammifero. Il piano tratteggia un’elegante danza. Così si apre il sipario sul mondo sciamanico di Diego Cignitti, alias Cigno, prima che pulsazioni di bassi nero pece e cori da camera inizino a scandire l’incedere di “Colobraro”.

Inizia così una marcia inesauribile, fatta di invettive e sacrifici, di luci che squarciano le tenebre attraversando paesi ed epoche, inizia così “Morte e pianto rituale”, opera prima di questo cantautore laziale che, rinchiuso nella sua stanza senza luci, inizia a imprimere nero su nero idee e sensazioni.