Vinili

PROFANATICA require no introduction. Cold 'n' alone American black metal before "USBM" became some dumb rallying term, pushing boundaries and "good taste" with vile blasphemy and even-more-vile music, and simply doing whatever the fuck they want, both in their original early '90s guise and their now-intensely-prolific period in the 21st millennium: there's only ever been one true PROFANATICA.

Clear/Black Splatter

Thronum Vrondor returns with their 5th full length album entitled Drowning in the Distorted Light. Their signature 2nd wave black metal sound has not wavered, on the contrary, it has evolved on this album as their songwriting and production has once again taken a step forward with even stronger guitar riffs, more relentless blast beats supported by a heavy bass sound.

Myrkvid, the French Black Metal band is back after nearly 7 years with their 2nd full length album “Nihilist”. Once again these French Bastards deliver an album in the vein of old school Black Metal entangled with some filthy Black ‘n’ Roll.

Limited to 100 copies on 12″ Vinyl.

White/Black Marble Vinyl

Limited 30th anniversary marble vinyl edition of Dødheimsgard's classic 1995 debut of masterful northern grimness.

An essential cornerstone of mid-90's Norwegian Black Metall.

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To fans of black metal, Dødheimsgard need no introduction, being as they are one of the great purveyors of the Norwegian Black Metal creative evolution. The band was formed in 1994 by Aldrahn (Thorns) and Vicotnik (Ved Buens Ende). The early incarnation was that of a raw and at times melodic black metal band, with their debut album 'Kronet Til Konge' also featuring Darkthrone’s Fenriz on bass.

Over time Dødheimsgard became known as one of the premier avantgarde black metal acts after a stylistic shift away from their more old-school origins, as displayed on the band’s most recent output; ‘A Umbra Omega’ and 2023's universally-lauded magnum opus, 'Black Medium Current'.

Third press! 2026 edition: ripple vinyl effect, in red and black!

Cosmic Doom featuring Heike Langhans (Ex-Draconian, Light Field Reverie, :LOR3L3I:, Ex-ISON) and Mike Lamb (Sojourner, Light Field Reverie). This is the original early single version of Obsidian released in 2021.

Heike Langhans - Vocals, Lyrics & Synth Mike Lamb - Guitar, Drums, Bass & Synth

With their sixth full-length "Dread Emperor", SLAUGHTERDAY deliver everything that they excel in, which is also precisely what their fans want from the duo: perfectly executed old school death metal with a wicked twist. From crushing doom-ridden ultra-heavy parts to calculated outbreaks of utter brutality, this record offers everything a still beating death metal heart could ask for. And of course, those cosmic horrors of the Great Old Ones, forbidden sounds, and tentacled death metal are still rising. The German band has also added more deeper meaning to their tales of cosmic terrors as a healthy antidote to stereotypes. Lyrically, SLAUGHTERDAY have always built on the well-established foundations of their genre by taking inspiration from American author H. P. Lovecraft and other masters of horror. And while sinister things crawl and creep through the duo's timeless brutality, they have always portrayed them with a sinister flair of their own. These days, the band has repurposed those monstrous creatures as metaphorical ciphers for relevant contemporary topics.

Green/black ripple vinyl limited to 300 copies

With their fourth studio album "Hulders Ritual" ('Ritual of the Huldra'), SLAGMAUR break the chains of repetition and nostalgia by rewriting the rules of black metal. This does not mean abandoning the foundations of the genre, which is already indicated by working with the 'inventor' of the 'Norwegian black metal sound', THORNS mastermind Snorre W. Ruch, as an additional producer. The band's founder, General Gribbsphiiser, rather unafraid and with reckless abandon mutates and warps the traditional formula through a host of subtle innovations and tweaks of the classic sound. Although "Hulders Ritual" continues, refines, and widens the daring stylistic balance of SLAGMAUR's previous works, it adds an extra dimension of sardonic mania to its collection of sharp and vicious sonic instruments. Choice guest-contributions that include TAAKE vocalist Hoest, DIMMU BORGIR guitarist Silenoz, and MISÞYRMING frontman D.G., who cover three decades of Nordic black metal make a case in point.

SEPULCHRAL rises again from beyond the burial mound to tear everything in its path with eleven songs of fucking worn out, moldy, and rusty Death Metal. The second album of this Basque entity comes wrapped into a putrid amalgam of decay that will make you crawl through the mud and beg for your life!

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.