Vinili

7" SINGLE VINYL LTD EDITION

Silver Black Marble

Ukrainian blackened death/doom metal formation 1914 return with unrelenting force on their fourth studio album, Viribus Unitis, Latin for "With United Forces." Far more than a historical reference to the personal motto of Franz Joseph I of the Austro-Hungarian Empire, the title reflects the band’s resilience through war, loss, and upheaval – a powerful symbol of survival and solidarity. Releasing on November 14, 2025 via Napalm Records, Viribus Unitis builds on the band’s acclaimed conceptual approach, pushing even deeper into emotional and musical intensity.

Continuing their chronicle of World War I, 1914 shift their focus slightly, from the raw portrayal of death and destruction to themes of camaraderie, endurance, and the emotional landscapes of those who endured the horrors. While previous releases like The Blind Leading the Blind (2018) and Where Fear and Weapons Meet (2021) centered on the futility and finality of war, Viribus Unitis explores the human bonds forged under fire and the strength of those who returned: broken, changed, yet still alive.

Musically, 1914 remain true to their identity – brutal mixture of blackened death metal, slow-burning doom, and ambient war soundscapes. This time, however, their sound gains a broader dynamic range, with soaring melodic leads, orchestral textures, and haunting clean vocals that provide dramatic contrast to the crushing heaviness. One of the album’s highlights is a collaboration with Aaron Stainthorpe of My Dying Bride and High Parasite on “1918 Pt. 3: ADE (A Duty to Escape),” whose mournful voice adds a solemn, almost liturgical quality to this elegy of grief and brotherhood on the front lines.

Viribus Unitis deepens 1914’s commitment to historical authenticity, both lyrically and conceptually. Told through real events and personal accounts of a Ukrainian soldier in the K.u.K. army, the album traces a timeline from 1914 to 1919, painting a grim journey through the war’s rise, climax, and hollow aftermath.

From the brooding opener “War In” to the bleak closer “War Out (The End?)”, each track captures a moment in time: the brutal “1914 (The Siege of Przemysl)”, the frostbitten “1915 (Zwinin Ridge)”, the crushing Alpine combat of “1916 (Südtirol Offensive)”, and the madness of “1918 Pt. 2: POW (Prisoner of War)” featuring Christopher Scott of Precious Death.

The album ends with “1919 (The Home Where I Died),” featuring Rome’s Jerome Reuter, a haunting portrait of a soldier who survived the war, but not its shadow. This emotional song deals with the soldier's will to live and his family values, seeing him escape from captivity to finally return home to embrace his wife and daughter. 1914 fuse blackened death metal, doom, and atmospheric textures with dramatic flourishes and guest vocals, creating their most dynamic and emotionally resonant record to date.

Havukruunu's debut album HAVULINNAAN reissued in June Svart Records is proud to bring Havukruunu's 2015 debut album HAVULINNAAN back to the market on June 6th, 2025. HAVULINNAAN is filled to the brim with raw, bleak, unforgiven heavy metal mixed with spells from the very depths of the misty Finnish forests. Havukruunu's Stefa had this to say about the upcoming reissue: "INTO THE CONIFEROUS CASTLE….. Ten years ago, we didst unleash an abomination of immortal-worship, improvised guitar solos and a first glance of a certain type of spiritual freedom, the very first full-length Havukruunu album HAVULINNAAN and thus began our search. Experience our then meandering worry anew, through this humble, slightly remastered reissue through Svart records."

Galaxy green black vinyl

COPIA NUOVA E SIGILLATA, ma arrivato danneggiata dal fornitore, nella fattispecie un piccolo (2 cm) seamsplit sul lato alto della copertina

The most prominent and significant American death/funeral doom emissaries EVOKEN succeed their 2018 landmark Hypnagogia album with their seventh full-length opus Mendacium set for release on Oct 17. A work that will reveal itself as one of the darkest and most oppressive EVOKEN albums among their unparalleled repertoire.

Where 2018’s Hypnagogia would see the band capture and focus on a more melancholic, tangible, and even more of an accessible sonic design, Mendacium takes that acute shift back to the monumental dirge-like dread and woeful catacombic and disharmonious heaviness reminiscent of the band’s Quietus and Antitheses of Light masterworks. All while still encapsulating the tectonic-shifting nature of their Caress of the Void and Atra Mors releases while venturing more through classic gothic audial textures and even treading a little down experimental mire as well, reminiscing an aura seeping from such luminary artists as Dead Can Dance, Monumentum, and Disembowelment.

To signal this shift in sound harking back to this previous era, the band would recall the services of producer Ron “Bumblefoot” Thal who worked with EVOKEN on their Antithesis of Light and Quietus albums respectively. The result being Mendacium capturing a sepulchral heaviness saturated in ambience with even more of an emphasis on deathlike dread and anguish; an ambience reflecting the depths and catacombs of an ancient cathedral or monastery, ultimately defining Mendacium as EVOKEN’s most powerful sounding album to date.

B2 Purple / Sea Blue Merge

Debut album of Philadelphia unholy metal band after several EP releases

For fans of Vastum, Krypts, Phrenelith, Master, Incantation, Abhorrence, Funebrarum, Disembowelment

Gold vinyl

Three years after their crushing debut Defiled In Oblivion, Castrator return with Coronation Of The Grotesque, an album that not only exceeds all expectations but leaves them shattered in its wake, firmly cementing the band among the North American death metal elite. 

A bludgeoning autopsy of death metal, gore and deathgrind, the low-tuned grooves, discordant leads and mid-tempo rumble of Cerebral Rot is evident in tracks like “Spinous Forms Of Mortal Abhorrence” and the title-track while setting the bar for a melted transformation into more ghastly liquified forms. The gargling slime vox of Ian Schwab are dangerously radioactive, summoned straight from the sealed basement of a nuked morgue narrating a splatter-fest of morbid poetry, decomposing flesh, absurd experiments, and gruesome transgression. Each song plays out like a medical examiner’s case file crossed with the fevered ramblings of a psychopath—precise in its anatomical horror and repugnant in its bizarre depravity.