Vinili

The debut studio EP from this twisted Colorado death metal legion. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.

High Roller Records, transparent ultra clear with red and yellow "Fire Splatter" vinyl, ltd 300, 425gsm heavy cardboard cover, lyric sheet printed on uncoated paper, A5 photo card, finally available on vinyl, After Canadian thrash metal legends Razor had released their self-financed debut EP »Armed And Dangerous« in 1984, they were surprised to get the attention of Attic Records, the country?s leading major record company at the time. The band soon inked a deal with the label and was destined to spearhead the company?s new Viper Records division. »Escape The Fire« was originally planned to be the follow-up to »Armed And Dangerous« but in the end it did not work out like this. Attic put pressure on the young band and had their own ideas of shaping the future of Razor. The result was »Executioner?s Song«. Original bassist Mike Campagnolo tells the whole story: ?Let?s face it, when any young band is given a shot at a record deal, it usually leans heavily in the label?s favour. Sure, we were inexperienced but they were also treading in unknown waters with the new Viper division, so there was a bit of lost advantage all around. I think we learned a bit from each other but hey, it?s usually the person with the cash making the final decisions. The main problem was that they were trying to cash in on anything we released instead of promoting a newer direction as the metal scene began to get harder and faster. They really didn?t grasp how the scene was changing and progressing and didn?t really get ahead of that wave. They had a pattern of how to deal with artists and stuck to that formula instead of seeing that this genre was here to stay and not just a fad. Attic showed that strategy with »Executioner?s Song« when they wanted some songs off of »Armed And Dangerous« and the »Escape The Fire« demo to create that release.? »Escape The Fire« was originally recorded on December 1st 1984 at Future Sound studios in Toronto and was produced by Terry Morostega (who had worked on »Armed And Dangerous«) along with Dave Carlo. As Mike Campagnolo explains, after »Armed And Dangerous« Razor were ?firing on all cylinders?: ?It would have been interesting to see how »Escape The Fire«, if released in its original form, would have been received by metal fans. It would?ve probably pushed some of the »Executioner?s Song« material onto »Evil Invaders« and who knows if it would have altered the progression of the band in any way??

SIGNAL REX, in conspiracy with BESTIAL BURST, is proud to present MOON ORACLE's striking debut album, Muse of the Nightside, on CD, 12" vinyl, and cassette tape formats.

MOON ORACLE was formed by Sûrya-Ishtara and U after spending years searching for their own sound with previous bands. Later on, Harald Mentor was asked to fill the role of vocalist, knowing his abilities from such acts as Ride for Revenge, Incriminated and Uskonrauha, among many others. Thus formed, MOON ORACLE began their first recording in earnest.

Now, that first recording arrives in nearly full-length form with the 26-minute Muse of the Nightside. Aptly titled, Muse of the Nightside reveals MOON ORACLE as astute auctioneers of pure-yet-idiosyncratic metal, equally informed by archaic black metal and eldritch doom, all bass-heavy crunge and wild tribal drumming. And yet, these essentially lunar reflections stem from the need to reiterate their darker, violent energies into expressive form: intense, irascible, derelict, dire. Sonically, then, the album explores that battleground between the Id and the Ego - barbaric primitivism ripped asunder and reshaped into ghoulishly avant-garde shapes. It's a trip, man.

MOON ORACLE is not for everyone; taboos exist for a reason. For those of such constitution, their Muse of the Nightside will open its chasm and ensnare with lurid ease.

Remah is a black metal entity born from a long-standing friendship and split between Paris and Brussels. Dea and ABR have known each other for a very long time and played black metal together since the beginning of their friendship, 17 years ago.

After a 10-year gap in their musical relationship, they gathered once more to create Une Main, Remah debut album, of which Dea wrote and produced all the music and clean vocals while ABR wrote and sang the lyrics. The result is a mixture of ice-cold, blade-sharp black metal with deep roots in several different styles: there’s the circular riffing of Blut Aus Nord most atmospheric and industrial works, the profound suffering of Xasthur depressive black metal records and of course furious, relentless blasts of rage coming from a Scandinavian heritage.

But Remah do not end in black metal. Thanks to a diverse musical background and previous multi-colored experiences (Emptiness, Soror Dolorosa, Luminance and others), Dea’s music is greatly influenced by cold- and darkwave, as the musician specifically names the likes of Lycia among his influences, as well as the early psychedelic rock scene (Ultimate Spinach, The Zodiac, etc).

All these elements find their own place in Une Main, a black metal album capable of delivering the widest range of emotions. Abrasive at times, ominously psychedelic at others, Remah music have a vibe of its own. 

Double LP - side D etched... white splatters on blue !

Windfaerer's Breaths of Elder Dawns is the black/folk metal quintet's latest and most elaborate output in its more than a decade of existence. As the band from New Jersey puts it, “Breaths of Elder Dawns explores themes of hope, kinship, destruction of the natural world, shattered illusions and longing for the numbing comfort of death. It is a journey of mourning through the ruins of abandonded dreams and aspirations. This record is an homage to a romantaicized past as much as it is a rejection of its glorification. As with previous Windfaerer releases this record was a collaborative effort. Each member brought their own influences, perspectives and compositions and forged them into the spirit of the band. Extensive attention to detail was paid to all of the sonic elements—from the mic placements to the string orchestrations—in an effort to create a towering and expansive sound. Sorrow-laden melodies spiral through rugged, mountainous song structures in a synthesis of vulnerability and power. Breaths of Elder Dawns is a journey through aesthetic desolation and saudade. Here, the light of the sun exposes the anguished disfigurement of the soul”.

FALKENBACH were originally conceived as a solo-project by Vratyas Vakyas and officially came into being with the "Læknishendr" demo in 1995. The first regular full-length under the banner FALKENBACH appeared in 1996 with the Icelandic title " …En their medh riki fara…" (1996). The extremely atmospheric album supported by keyboard and acoustic guitar was obviously influenced both by the Bathory classics "Blood Fire Death" and "Hammerheart" as well as the rising Nordic black metal tide. " …En their medh riki fara…" quickly gained cult status in the blackened pagan metal scene and still maintains a raw, emotional charm today.

VOUNA "Atropos" 2xLP comes in a gatefold jacket with gold printing, a designed inner sleeve, and a download card.  This is the black vinyl edition.

VOUNA is the project of multi-instrumentalist and composer Yianna Bekris. With her second full-length album “Atropos”, she unveils a towering and singular doom metal wonder in a unique visioning reminiscent of My Dying Bride, Paradise Lost, and Evoken. Upon the thick foundation of doom, multiple musical textures intertwine into her sound: atmospheric black metal, dungeon synth, darkwave, film scores, and rebetiko. It is through these woven sonic tapestries that Bekris creates vivid atmospheres expressing the myriad emotions surrounding death, mourning, and suicidal ideation. “Atropos”, named for the Greek fate who cut the thread of life thus determining the final fate for mortals, not only conveys the inevitability of death, but also explores its contrasting and dynamic nature through immersive compositions representing despair, loneliness, anxiety, peace, and dignity.

After 25 years of silence, Swedish Death metal legends EPITAPH unleash their second album "Sinner Waketh
 

HARVEST OF DEATH, a division of SIGNAL REX, is proud to present WAMPIRVS SINISTRVS' striking debut mini-album, Blood of the Vampyre, on single-sided 12" vinyl format, strictly limited to 200 pieces black records.

(Silkscreen on B-side, 280 black card stock fold-over with withe silkscreen print made by Mr.Shirt Guy)

Otherwise new and otherwise mysterious, WAMPIRVS SINISTRVS hail from parts unknown. With such a moniker, it's only suitable that the entity's spiritual locale is some desolate castle, deep in the dungeon, residing in a coffin until the call of the night awakens its hunger and lust...

Indeed, WAMPIRVS SINISTRVS honor the ancient ways of '90s black metal vampirism, back before circus clowns ruined anything qualified as "vampiric" - when revered cults like France's Vlad Tepes and America's Black Funeral held sway over the diehard and dedicated. Blood of the Vampyre, as such, is thusly ruinous nostalgia ripped asunder: it seeks to supplant the rosiness of remembered times for ones rife with rot, decay, and general antagonism. This is utterly grim, remorselessly raw BLACK METAL for those who still march to the black holocaust and the throne of the beast - for those lost in time, out of time, their thirst for blood unquenched. That the record is thematically inspired by the 1922 expressionist film classic Nosferatu, Eine Symphonie des Grauens further underlines its exquisitely mildewed nature.

Black 12" (140g) with 1/0 K labels in a black poly-lined innerbag, INSERT: 2pp., 1/1 K/K on 150gsm art paper, SLEEVE: simple pocket, 1/1 K/K - black flood inside on 350gsm uncoated (matte) w-w stock, 3mm spine, all assembled in a PVC overbag (vinyl aside of the sleeve)