Vinili

Includes printed insert and hype sticker.

Tracks are listed sequentially, regardless of side, in Roman numerals.

inlay with lyrics and info
180 gram grey marbled vinyl
black screenprint on both sides
Limited to 540 copies
Artwork by Misanthropic Art
This EP is the remnant of the Totenzug: Festering Peregrination

LAST COPIES

Limited to 199x black vinyl, incl. download

Comes in gatefold cover, incl. download. Limited to 333x grey/white/black marble vinyl.

Los Males Del Mundo combines today's modern Black Metal sound with late 90's melodic Black Metal, with lyrics deeply influenced by Friedrich Nietzsche, Emil Cioran and A. Schopenhauer.

The band was first created in 2016 as a project between Dany Tee (Acathexis, Downfall of Nur) and Cristian Yans. Nikita Kamprad (Der Weg Einer Freiheit) later joined as a producer and guest musician.

In October 2020 a promotional self-titled EP with two tracks was released through Bandcamp.

Their first full length album, “Descent Towards Death,” containing 5 tracks of 40 minutes length, is an invitation to a conceptual journey, dragging the listener into the darkest and remotest places of the human soul. It reflects an internal battle, expressed as changes between aggressive and furious passages on the one hand, and dense and introspective landscapes full of melancholic melodies on the other.

The symphonic metal masters THERION around mastermind Christofer Johnsson belong to the spearheads of orchestral metal since their 1996 album "Theli".

In the early history of the band, however, they were more on dark death metal paths. The three albums: "Beyond Sanctorum" (1992), Symphony Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995) are released as remastered CD reissues via Hammerheart.

A Heavy Dark Occult metal album, spectacular in its uniqueness. Invoke the Dragon! With original artwork.

This is the kind of album that showed the boundaries of Death Metal were not completely explored, as Therion had already partially shown on their previous Death Metal albums where they were one the unique few bands that combined Death Metal with keyboards. On the other hand this album showed that Therion had progressed out of the Death Metal stage where they had gotten the fame of being original within the boundaries of the genre, while still keeping a lot of the elements that were being heard on the previous effort.

This third album deals with various occult rites and occult subjects, as reflected in the song-titles. The content itself could best be described as ‘Dark Occult Metal’. It’s not Death Metal, not heavy metal, and not exactly a mix either. This album takes a lot of elements from the previous album, and introduces a number of new elements, a lot of which would return on the following albums.

This is the kind of album that you will like if you like anything symphonic, bombastic, and/or anything with a tad of occult atmosphere. Therion doesn’t need an orchestra or opera singers to sound like Therion. “Symphony Masses” does not need this to sound symphonic in its own twisted way. You do not even have to be deep into Death Metal to enjoy this little gem.

The symphonic metal masters THERION around mastermind Christofer Johnsson belong to the spearheads of orchestral metal since their 1996 album "Theli".

In the early history of the band, however, they were more on dark death metal paths. The three albums: "Beyond Sanctorum" (1992), Symphony Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995) are released as remastered CD reissues via Hammerheart.

One of Swedish Death Metal most sought after albums, and rightfully so!

Therion’s relatively unknown beginnings as a “standard” Death Metal band seem to be misunderstood by many Metal listeners. Although the general consensus seems to be that “Beyond Sanctorum” is just “straight up Death Metal” while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. Although “Beyond Sanctorum” uses mainly instruments and performance aspects of standard Death Metal, the songs are alreafy composed in a style more similar to actual classical music.

“Future Consciousness” starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. Other bright spots include “Cthulhu”, featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. “Enter the Depths of Eternal Darkness” goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying. “Symphony of rhe Dead” has an early The Gathering feel, that bursts into Death Metal later on.

The highlight of this album is definitely “The Way”. This is where the bands developing symphonic style is most obvious, so “Theli” fans should definitely hear this song first. We cannot recommend it enough - “The Way” is not only the best song on the album, but one of the best examples of adventurous, progressive
(yet uncompromising) Death Metal one is ever likely to hear.

This album released around the time when Death Metal was abandoning its primitive roots and going off into more complex territory. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years
ahead of their debut

Hammerheart Records, 180g black vinyl, Faithfully restored from the original master and artwork, featuring the original artwork, The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with ?Symphony Masses: Ho Drakon Ho Megas?, ?Lepaca Kliffoth? might remain the most memorable masterpiece of the band?s career along the follow-up ?Theli?. A transitional phase between the band?s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with ?The Wings of the Hydra?, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song?s namesake. The album?s ?hit single?, ?The Beauty in Black? is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging ?Riders of Theli?, the crushing doom of ?Black? which would have fit almost perfectly on ?Into the Pandemonium?. The rest of the album is equally dark and enchanting, with other standouts being the title track and ?Evocation of Vovin?. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal aand into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

Hammerheart Records, 180g black vinyl, insert, Faithfully replicated from the original, still containing the old school feeling; Finally available again: the much sought after debut mini-LP by Swedish Therion. Pure old school Death Metal recorded in 1989 at the legendary Sunlight Studio. ?Time Shall Tell? is the ultimate expression of Therion?s Death Metal relevance and this recording is as brutal, sinister and abstract as anything from the early Swedish Death Metal scene. While their Stockholm contemporaries were busy pounding out punk-based riffs, Therion sounded like they were orbiting the gravitational field of a supernatural vortex. The band?s Hellhammer/Celtic Frost influences have been over-matched by their Possessed and Morbid Angel influences, to great effect. This was the band?s first experience in the legendary Studio Sunlight. ?Time Shall Tell? was recorded in December 1989, almost exactly the same time as ?Left Hand Path?. Therion were never derivative of Nihilist/Entombed, the best parallel is with Grotesque, who recorded (part of) their ?Incantation? EP in the same studio a few months later. Both bands had an evil, twisted sound with lots of tempo changes and some keyboards. Therion never sounded as wild or extreme as Grotesque, but they were heavier and more disciplined. Both EP?s feel like they?re tapping into an alternative vision of early Scandinavian Death Metal. These four songs are the most evolved, complex compositions the band had made until that point. In any case, they sound better, noisier and more abrasive in their original form. Skogsberg got it right on his first attempt. The great thing about music like this is its unpredictability. Death Metal as disorientating and dark as this is a rare beast. Rarely does a band express themselves in ways that resemble what Therion did here. ?Time Shall Tell? is pure in freedom of expression, and thus stands the test of time.

After their highly acclaimed avant-garde debut album "Secret Ambrosian Fire", released by Eisenwald in 2019, Thuringian folklorists MOSAIC return to their black metal roots with their new full-length album "Heimatspuk", delivering a primal symbiosis of atmospheric metal, mystical soundscapes and traditional primal folk elements.

The album continues where its predecessor "Secret Ambrosian Fire" left off. The modern world lies in ruins and has consumed itself. Lyrically, it is permeated by various leitmotifs, such as darkness, sanguine and forest mysticism - as well as the central elements of earth and air - whose attributes and symbolism characterize the album.

Unlike previous MOSAIC releases, there are no guest appearances on this album. The album was written and recorded entirely by Martin van Valkenstijn at his House of Inkantation in Gotha, with musical assistance from Danijel Zambo (Walden, Skognatt) and mastered by Markus Stock (Empyrium, Sun of the Sleepless) at Klangschmiede Studio E in Mellrichstadt.

Debut album after the previous demo-material reissues

imperdibile box rigido con un nuovoincredibile artwork, stampato a tiratura limitata, contenente 5 LP in vinile nero da 180 grammi raccoltiin un bellissimo quaderno rilegato e corredato da immagini e disegni inediti realizzati da Adam Jones,chitarrista e co-fondatore dei TOOL. Le facciate A di ognuno dei 5 LP ospiteranno i brani di FearInoculum, mentre le facciate B di ognuno dei 5 LP recheranno incisioni artistiche unicheI TOOL hanno costantemente superato il semplice concetto di copertina dell\'album, basti pensareall\'innovativo CD di Fear Inoculum fatto con uno schermo HD ricaricabile da 4" con riprese videoesclusive ("Recusant Ad Infinitum"), agli obiettivi stereoscopici integrati di 10.000 Days, fino alportagioie lenticolare di anima