Vinili

Following their acclaimed self-titled debut EP from 2024, Italian trio Nel Buio is ready to release their debut studio album, once again self-titled. With their style defined as “pure Italian blackwave” — a fusion of black metal and darkwave — Nel Buio narrate a tragedy in two acts, where the music evolves alongside the lyrics, guiding the listener as if through a soundtrack.
 

Following their acclaimed self-titled debut EP from 2024, Italian trio Nel Buio is ready to release their debut studio album, once again self-titled. With their style defined as “pure Italian blackwave” — a fusion of black metal and darkwave — Nel Buio narrate a tragedy in two acts, where the music evolves alongside the lyrics, guiding the listener as if through a soundtrack.
 

One of the UK underground's longest-running and most respected acts, HECATE ENTHRONED has been praised by the likes of Terrorizer for their "mixture of death metal aggression with black metal atmosphere" while New Noise Magazine declares them "an absolute must for fans of extreme gothic metal". Originally co-founded in Wales by guitarist Nigel Dennen in the mid-1990s, the band is dedicated to delivering their own brand of evil metal with little regard to politics or the trends of popular demand. The group's 1997 full-length, the Andy Sneap-produced 'The Slaughter Of Innocence, A Requiem For The Mighty' (Blackend Records), was a seminal release in the then-burgeoning orchestral black metal movement, and since then, five more studio outputs including their M-Theory Audio debut in 2019 with the 'Embrace Of The Godless Aeon' (HECATE ENTHRONED's first recording with vocalist Joe Stamps) and numerous live performances have firmly established the band as one of extreme metal's most important voices.

The album will be released May 29 on Digipak CD, limited-edition colored vinyl including 250 Boreal Light (EU) and 250 Draconic Vision (US) variants, and digital.  'The Corpse of a Titan, A Lament Long Buried' is once again produced by HECATE ENTHRONED and Dan Abela (Akercocke, Bleed from Within, Annal Nathrakh), who also mixed/mastered the album with cover art created by Erskine Designs (Inanimate Existence, Bleed The Sky).

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

After a whole decade of silence, Downfall Of Nur is back with a new album. The studio project born from Italian-born Antonio Sanna is finally ready to give a proper follow up to the acclaimed debut Umbras de Barbagia (2015). And the Firmament will Burn to Quench the Pain of this Earth unfolds as a profound reflection on the ancestral memory and deeply rooted symbols of Sardinia.
At its core lies the dual figure of the feminine: the Mother Goddess, an ancient archetype associated with fertility, the earth, and permanence, represented in the prehistoric iconography of Sardinia, and human mothers, silent protagonists who carry the restrained sorrow of mourning their children lost to ancestral conflicts, such as the disamistade, a ritualized enmity deeply embedded in Sardinian cultural memory.
The album’s central narrative revolves around the transition of an individual caught in these ancient cycles of hostility. Upon shedding his physical form, his spirit merges with the archetype of the Mother Goddess, an ancestral presence embodying the exhaustion provoked by the endless repetition of violence and death. This union marks a threshold: an essential act of purification that confronts oblivion and halts the ceaseless recurrence of suffering.
Though not explicitly named, the mothers form the ethical and emotional foundation of the work. Their grief transcends the individual and extends into the collective, shaping the social memory and the ontological relationship between human beings and the land they inhabit. The Mother Goddess and the mothers symbolically intertwine, revealing the rupture between humanity and the earth that sustains it. The album posits a breaking point: the weariness of the Mother Goddess in the face of perpetual cycles of vengeance, death, and forgetting. This rupture is not presented as punitive, but as an inevitable act of purification, fire consuming what has been denied by collective memory.
And the Firmament Will Burn to Quench the Pain of This Earth calls for attentive and contemplative listening. It is not a linear or conclusive narrative, but a fragmented ritual space that opens the way to multiple layers of interpretation, where history, mythology, and human mourning converge. Ultimately, the album stands as an act of living memory—a tribute to Sardinia as a sacred, wounded land, bearer of silenced histories—and an invitation to recognize, through listening, the profound sorrow that resides in the broken bond between man, woman, earth, and the divine. 

"Eight years after 'Eonian', DIMMU BORGIR returns with 'Grand Serpent Rising', a thirteen-track album that is both relentless and remarkably diverse. The title itself symbolizes renewal: for the band, the serpent represents transformation, knowledge, and liberation—a necessary shedding after more than thirty years in the industry. From the introduction 'Tridentium' to the explosive 'Ascent', the band confirms that it has lost none of its intensity or aura. Over nearly an hour of music, the album showcases majestic power, blending the raw energy of 90s Norwegian black metal with the mastery gained over the decades. With 'Grand Serpent Rising', DIMMU BORGIR delivers an imposing and ambitious work, driven by an intact inspiration and a vision more grandiose than ever."

UK thrash legends Acid Reign return with their highly anticipated new album, Daze Of The Week, releasing on May 15, 2026, via Back On Black Records. Produced by Jayce Lewis, the album features ten tracks promising catchy choruses and high-speed thrash, following their 2019 release

Despite being called from the grave at a time when Black Metal from Norway suddenly gained worldwide popularity, MALFEITOR always remained an obscure entity. When some of their compatriots signed record deals with international labels, the horde from Askim deliberately acted from within the deepest underground. With a short lifespan of only 2 years, the output produced by MALFEITOR is naturally rather meagre. The releases spawned between 1991 and 1992 only consist of 1 rehearsal- and 2 demo tapes and were back in the day only spread on home-dubbed tapes in very limited quantities. Devoted to Black Metal of the rather stripped-down, minimalist style similar to early BATHORY, ILDJARN or DARKTHRONE, MALFEITOR had the potential to release a great first full-length. Unfortunately, this wasn’t destined to happen since shortly after the release of the very promising second demo Pandemonium MALFEITOR returned to the shadows from which it was conjured. The member’s contribution to Black Metal wouldn`t end with the demise of MALFEITOR, though since out of the ashes STRID and MANES (featuring Vicotnik from DØDHEIMSGARD) rose.

Despite being called from the grave at a time when Black Metal from Norway suddenly gained worldwide popularity, MALFEITOR always remained an obscure entity. When some of their compatriots signed record deals with international labels, the horde from Askim deliberately acted from within the deepest underground. With a short lifespan of only 2 years, the output produced by MALFEITOR is naturally rather meagre. The releases spawned between 1991 and 1992 only consist of 1 rehearsal- and 2 demo tapes and were back in the day only spread on home-dubbed tapes in very limited quantities. Devoted to Black Metal of the rather stripped-down, minimalist style similar to early BATHORY, ILDJARN or DARKTHRONE, MALFEITOR had the potential to release a great first full-length. Unfortunately, this wasn’t destined to happen since shortly after the release of the very promising second demo Pandemonium MALFEITOR returned to the shadows from which it was conjured. The member’s contribution to Black Metal wouldn`t end with the demise of MALFEITOR, though since out of the ashes STRID and MANES (featuring Vicotnik from DØDHEIMSGARD) rose.

ABIGOR’s 1994 full length debut captured the sudden discharge of the scene´s massive energy, which had built up in the early ’90s. As a result, Verwüstung turned out a bold, forceful but also deeply emotional album, created by adolescents who already had a sharp and individual idea how Black Metal should sound like. Although Verwüstung has in retrospect sometimes been overshadowed by the impact of Nachthymnen (From The Twilight Kingdom), its songwriting easily matches the 1995 classic and shows even more variety. No other ABIGOR album displays such a mix of demonic furore (“Kingdom Of Darkness”), complexity (“Universe Of Black Divine”) and atmosphere (“Midwintertears”), in addition Silenius delivered a vigorous peak performance and never sounded more powerful before or after.

For the first time, DSR presents a vinyl edition with the original 1994 cover collage. Verwüstung comes in a gatefold sleeve with an extensive 40 page booklet, including a comprehensive collection of photos and artefacts from that year, an A4 sticker sheet with the two blasphemous slogan-flyers made in early 1994, as well as liner notes and two detailed interviews:
one with Bruder Cle, talking about the tape-trading scene which shaped the emergence of Black Metal as well as this very album, and one with Georg Hrauda (Hörnix Studio), who recorded all the classic ABIGOR albums in the ’90s.

The vinyl sound – also for the first time – has been cut true to the original Hörnix master, while the download code leads to a new master, especially created for today´s mobile digital devices.

ABIGOR’s 1994 full length debut captured the sudden discharge of the scene´s massive energy, which had built up in the early ’90s. As a result, Verwüstung turned out a bold, forceful but also deeply emotional album, created by adolescents who already had a sharp and individual idea how Black Metal should sound like. Although Verwüstung has in retrospect sometimes been overshadowed by the impact of Nachthymnen (From The Twilight Kingdom), its songwriting easily matches the 1995 classic and shows even more variety. No other ABIGOR album displays such a mix of demonic furore (“Kingdom Of Darkness”), complexity (“Universe Of Black Divine”) and atmosphere (“Midwintertears”), in addition Silenius delivered a vigorous peak performance and never sounded more powerful before or after.

For the first time, DSR presents a vinyl edition with the original 1994 cover collage. Verwüstung comes in a gatefold sleeve with an extensive 40 page booklet, including a comprehensive collection of photos and artefacts from that year, an A4 sticker sheet with the two blasphemous slogan-flyers made in early 1994, as well as liner notes and two detailed interviews:
one with Bruder Cle, talking about the tape-trading scene which shaped the emergence of Black Metal as well as this very album, and one with Georg Hrauda (Hörnix Studio), who recorded all the classic ABIGOR albums in the ’90s.

The vinyl sound – also for the first time – has been cut true to the original Hörnix master, while the download code leads to a new master, especially created for today´s mobile digital devices.