Vinili

“YOTH IRIA is the rays of Lucifer the first, Satan the second and Devil the third sent to the earth to help and give courage to the simple people and help mother earth to survive. After YOTH IRIA came in, the earth took shape and form. Magic as a way of life and freedom without fear.”
If you want to hear some new music that looks back without hesitation, but still creates something new and exciting - Check out BLAZING INFERNO!

Almost 4 years after their debut album “Drapsdalen” Valdaudr returns with the mighty follow up!
“Du Skal Frykte” brings even more nostalgia and atmosphere from the past to the table. There's a bit more melodic touch to it, but in the right way. Often reminding of the great early Satyricon, Ulver and other scene pillars, this album still brings you back to the early 90's and the whole reason why we started enjoying this epic and majestic genre. Hail Norwegian Black Metal!

This old and rancid sabbatical articulation was consecrated in morbid malignancy through archaic incunabula vampyric texts and the twisted philosophical structure of vinegar blood, the cadaveric cauldron with which these texts are nourished and bathed and the vibrational current of cryptic music, is embraced under the temple of heresy regarding the visions and the reverse trance anointed in mortal blood on octingenti black candles, unbaptized opus that serve as a funerary reminder towards the pestilent and monumental orchestrations of the "Vampyric Arts of Putrefaction".

The bestiality and ferocity are translated into a fiery and black barbaric cadence that is robustly justified with the putrid gloomy emblem of a distant black church, an unbaptized fortress of agonizing mist and black pylons of catacombs and unclean spirits. Die Schattenfestung serves a single evil purpose which is reflected under octingenti black candles of a rotten and cadaverous sound rehearsal as an album of primordial force towards vampyric raw black metal.

One of the mysterious and select entities that made up the extinct The Temple of Paroketh Death Current under the glossolalic atrocities of dark ambient Experimental, has been stalking and digging in the depths of the most twisted shadows with dizzying and oppressive acts since 2018, serving an evolutionary and cyclical purpose, with this new aberrant, exhaustive and cavernous opus titled “Nosophoros- The Pale Specter From the Unholy Graveyard” drags us towards glossolalic atrocities composed of two ominous hymns attached to the delirious sacrilege of fatal weapons, an amazing but painful act of resurgent malignancy towards the old rotten chrysalises of the dark Eden that comprise a reverse odyssey, an arduous gloomy pilgrimage combined with the crushing terrifying mess of vociferations that have been carved and diminished towards the vampire / philosophical directions of the rotten astral. Not only does it encompass the old twilight orgies that melted as pillars of dark ambient, but it now strongly embraces solid structures of glossolalic raw black metal that it ferociously dislocates with the thunderous funeral march of Inexorable cursed paths that alter and cause an uncomfortable and incomprehensible tension to worldly ears, a hysterical odyssey that is disturbing in the inverse pyramidal structure of the ghostly black metal and profane art of this title. The twilight star, the voices that swallow their roots to flourish like the oscillating spectre that will remain perpetual for a long time like a dark unhinged pylon.

Exhumed from sanguine sulfur necropolis by charnel smoke spell, Ecuador’s Wampyric Rites have been evoked once again for another masterclass in raw black metal orthodoxy, with their latest incantation, Summoning the Beasts in the Night of Lycanthropic Moon, being a four chapter grimoire slaked with the lunar thirst of the unquenchable bestial bloodlust. Woven with the prodigal power of wolven tapestry terror, Summoning the Beasts in the Night of Lycanthropic Moon, is awash with epic spell compositions, dungeon synth soliloquy, raging melancholic tremolo, rasping vocal lamentation, infectious percussive patterns, feral grimdark thematics, sorrow storm atmospherics and a full-bodied equilibrium of production putridity—one that mixes these alchemical elements together into true necromantic work of gilded sonic cruelty. Yet another stellar offering from one of South America’s most potent raw black metal cabals, Wampyric Rites have led another salacious audial assault upon the mortal realms, one that any acolyte of tomb cult reverie would be remiss to experience for themselves.

After “Anthropophagy” (1987) and “Who Are the True” (1988),Vulcano entered the 1990s heeding the signs of the times without compromising their initial brutality. As a result, the band’s fifth album “Ratrace” perfectly balances thrashing madness with a more contemporary, midtempo approach. “I was really incredulous about how he managed to save that album,” band leader Zhema comments on Patrick W. Engel’s restored and remastered version on the original tapes. “The vocals, guitars and bass – everything is finally more defined!” And after frequent bad luck with both recording studios and labels, the Brazilian extreme metal forerunners found a capable partner in High Roller Records to reissue “Ratrace”. The album, which saw a glorious return of guitarist Soto Jr. († 2001) from the line-up of the group’s seminal debut “Bloody Vengeance” (1986), would be their last release for 14 years but an impressive temporary farewell no less. With tracks like the two-minute barrage ‘Welcome to the Army’ or the similarly frantic ‘White Violence’ set against more chunky stuff such as ‘Just a Matter of Time’, “Ratrace” is a forgotten thrash gem to be (re-)discovered!