Vinili

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

In addition to the original studio tracks, this special double-disc release contains an expansive selection of material from the time, from unreleased mixes of album tracks & rare cover songs, to the inclusion of the very rare ‘Funeral Theatre’ Promo tape created by Mirai Kawashima in 1995.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

In addition to the original studio tracks, this special double-disc release contains an expansive selection of material from the time, from unreleased mixes of album tracks & rare cover songs, to the inclusion of the very rare ‘Funeral Theatre’ Promo tape created by Mirai Kawashima in 1995.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

180g vinyl, thick insert incl. lyrics, and a designed download card for the digital album.

Designed download card with free digital album

Originally released in 2020, Livslede is SUNKEN’s second full-length and a compelling work of atmospheric black metal - melancholic, dynamic, and shaped by a strong sense of northern introspection. 

By now OFERMOD requires no introduction. Steered by Belfagor aka Mika Hakola since 1996, the Swedish horde have sewn influence and infamy in equal measure.

Now marks the long awaited arrival of “DRAKOSOPHIA”, the bands 5th full-length album in which Belfagor is joined by North American vocalist “Adeptus”, Austrian session drummer “Florian Musil”, and bass by the one and only “Devo” ex-Marduk.

“DRAKOSOPHIA” is genuine Orthodox Black Metal, a subgenre that Belfagor forged nearly 30 years ago as a vessel for Theistic Satanism/ Left hand path esotericism in sonic form.

Evoken’s Funeral Doom/Death Metal debut EP remastered and reissued! Raw, bleak and essential!

Doom Metal, perhaps the most varied of all the metal genres, has been crossing over with plenty of other genres, and surprisingly often, the crossbreeding has been fertile. While the “funeral” brand of Doom Metal sounds like something that lacks the genetics to successfully breed with other metal genres, its nihilism works surpringly well when blended with slowed down Death Metal. Among the masters of that gruesome fusion are Evoken from the United States.

The essential debut full-length from funeral Doom/Death legends Evoken remastered and available again! A majestic sight of everlasting reign!

Evoken are an essential Funeral Doom Metal band. Give “Embrace the Emptiness” a listen and end up being immensely impressed...

limited and numbered to 5 copies! 

NIHILI LOCUS is absolutely a Doomish Black Metal cult act of the Italian scene!
"Semper" is the album that will consecrate the band for years enshrouded in their cult status shadow and now finally ready to emerge in all its dark greatness. The album will allow the band to reap the fruits of a career always characterized by a melancholic pathos embodied in a dark sonorous extremism
It presents heavy riffages paired with disheartened ones, fierce growling and sad atmospheres for a dark and anguished Doomish Black Metal enhanced by melodic elements.
With the great cover realized the great Norwegian photographer Kjetil Karlsen, "Semper" is a documentation of a sombre journey to the dark pit of the unknown.
NIHILI LOCUS, a name, a cult, the history of Italian Extreme Music.

The vinyl version of Fuath's third album comes in gatefold cover, in limited editions of 199 copies on white/black marble vinyl and 199 copies on sky blue/white marble vinyl, incl. download. 

Formed in 2015, Fuath is Marshall’s outlet for a colder, more ferocious vision, melding relentless aggression with haunting, melancholic melodies. The music channels a timeless frostbitten spirit, weaving immersive soundscapes steeped in winter’s bleak beauty, ancient mysticism, and dark folklore.

Though rarely performed live, Fuath’s selective appearances have left a lasting impact, immersing audiences in its stark, otherworldly realm.

Fuath's III, arriving five years after the last album, features four expansive tracks with a running time exceeding 40 minutes. III embodies a cold, atmospheric, harsh, and hypnotic sound, driven by blistering speed and raw intensity, while retaining the haunting melodic depth that defines Fuath’s essence.

Natas are back! After the celebrated debut “På veg... til helvette” the Norwegian black metal underground is ready to burst once again with “Mara”, a classic but energetic platter of dirty black metal in the best tradition of the second wave. Sustained by daring vocals and a punk-ish attitude, “Mara” points out, again and again, how Norwegians are able to handle the genre in the best of ways.
 

With this work, SEDNA reach a new synthesis of their sonic language. The album reveals a sound that is raw and instinctive yet more self-aware, one that merges the ferocity of black metal and the weight of sludge and post-metal with a refined melodic sensibility. It is an album that feels like both an open wound and a catharsis: visceral, direct, yet contemplative and profoundly human. While atmospheric black metal remains the most accurate label, to confine SEDNA within a single genre would be limiting. Their music is made of nuances and deviations, a sonic flow that crosses darkness in search of balance between aggression and introspection. “Sila Nuna” stands as the testimony of a fully matured vision, from a band that has learned to turn chaos into form and tension into language