CD

Doom goth, Finland

• Follow up to 2020 collaboration album of death/doom metal titans and enigmatic PNW folk musician

• One of the doom metal triumphs of 2025

• Hellish jazz-inflected metal
• Features virtuoso bass playing split between Damon Good (Mournful Congregation, Stargazer, Cauldron Black Ram), and Ben Ricci
• Drums by Dylan Marks, Atheist live drummer
• For fans of Stargazer, Pestilence, Chthe’ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul

Hailing from the atmospheric landscapes of Iceland, Gísli Gunnarsson is a visionary composer and multi-instrumentalist whose artistry transcends boundaries. Remaining rooted in modern classical, his music draws inspiration from various other genres such as post-rock, black metal, and shoegaze.

Gunnarsson’s newest record ‘Úr Öskunni’ is full of contrasts and represents a recent chapter in the composer’s life. Iceland’s raw beauty is an awe-inspiring to the eye, but the forces that shaped the island remain a real peril for the inhabitants

Crowned by the masterful artwork of Daniele Valeriani (Behemoth, Candlemass, Mayhem, Dark Funeral, Triptykon) and sonically woven into perfection by Christoph Brandes // Iguana Studios (The Spirit, Imperium Dekadenz, Necrophagist), the album rises as a tempest—raw, relentless, and animalistic in its intensity.

Before Chat Pile took on sold out tours and widespread critical acclaim, they played Roadburn 2023, their biggest show to date, in front of a packed room of 3,000 on the festival's main stage. Fresh off the release of God’s Country, the Oklahoma quartet brought their suffocating, sludgy noise rock to Tilburg for their first ever European performance, delivering a set that felt like a milestone. The bleakness, the anguish, the raw absurdity—it all scaled up effortlessly, proving that Chat Pile’s chaos could consume any audience, no matter the size.

The set was recorded and later remixed by the band’s longtime engineer Jared Stimpfl, capturing the full weight of the performance. The result is something both massive and unrelenting, a document of Chat Pile at a pivotal moment, pushing their sound to its heaviest and most visceral extremes.

Julinko, nome d’arte di Giulia Parin Zecchin, è da tempo uno dei segreti meglio custoditi della scena sperimentale del nord-est italiano, con tre dischi che hanno contribuito a definire la sua inconfondibile mescolanza di heavy psychedelia, slowcore e dark ambient. In Naebula ciò che colpisce davvero è la potenza e l’intensità della sua voce, un’arma di forza innegabile, capace di trasformarsi in un mezzo di fervore grezzo o librarsi con grazia in un delicato lamento. Il suo approccio non convenzionale risplende in brani come ‘Jeanne De Rien’, dove una cadenza ritmica da marcia funge da colonna sonora portante per un lungo mantra che sfiora quasi il territorio del powpow. ‘Peace Of The Unsaid’ sfrutta la propria struttura aritmica per creare spazio, un’ode notturna e crepuscolare che raggiunge le vette della forza intima di Sinéad O’Connor, pur mantenendo una dolce compostezza. Che si tratti di urla glaciali e assassine o di una vitalità dal tono quasi gospel, brani come ‘Cloudmachine’ o ‘Kiss The Lion’s Tongue’ sembrano attingere tanto alla tradizione del minimalismo europeo, con l’uso dei droni e della ripetizione, quanto a quella dei canti popolari come inni, dove armonie modali cedono il passo a un’ apparente stasi. Un altro elemento chiave nella scrittura di Julinko è la fusione impeccabile fra il suo approccio minimalista e quelle trame dense ereditate da un lontano retaggio di outsider metal, un noir lynchiano spinto all’estremo o esorcismi senza parole attraversati da correnti profonde. 

Scritto e interpretato interamente da Julinko, ‘Naebula’ dispiega e avvolge i suoi incantesimi in spirali sonore creando la colonna sonora perfetta per ossessione, desiderio e contemplazione, un mondo abitato da grandi come Meredith Monk, Diamanda Galás e Jarboe, artiste diverse ma tutte guidate dalla ricerca della più pura e cristallina forma di catarsi. 

CD Digipak w/gold hot foil stamo

Olde Throne is a melodic and atmospheric black metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland. Even after moving back to his native New Zealand, McKenzie felt deeply inspired by his experience in the highlands, and this project was the result of such inspiration. Olde Throne released two studio albums under this monicker, An Gorta Mór (2022) and In the Land of Ghosts (2023). Two years later, the man from Christchurch signs with Italian long-standing label Avantgarde Music to release their third full-length album, Megalith.

Two years in its creation, Megalith is a primal journey into the depths of prehistory. Where previous albums explored the strife of 19th-century Ireland (An Gorta Mór) and the spectral lore of 17th- and 18th-century Scotland (In the Land of Ghosts), Megalith delves into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC. The use of flutes, throat singing and tribal drums forges an immersive brand of Neolithic Black Metal.