Vinili

Extra limited edition 133 copies 

The Impending Fall Of The Stars is intended to be the evolutionary continuity of Monolith Of Light, Inherits The Void’s debut album released in 2021.

Despite this continuity, however, the album tends to be more melodic, leaning towards the black metal scene of the ‘90s, particularly the Swedish one (Sacramentum, Dawn, Vinterland) while still infusing modern influences from bands such as Regarde Les Hommes Tomber and even elements taken from the first wave of melodic death metal (early Ablaze My Sorrows, Eucharist, Gates Of Ishtar and the likes).

“The Impending Fall Of The Stars was composed as a faithful mirror of my initial and all-time musical tastes and influences. The involvement of session members - with their own feelings and sensibilities - proved rewarding and made it possible to reach the final rendering as it is proposed”, said Inherits The Void composer and mastermind Antoine Scholtès.

“The nine songs revolve around people migrations from very ancient ages to current times, considering the hopes, the dangers, and the loneliness from all of them during their wandering. All these emotions have permeated the composition of the songs in order to obtain music in which rage, chaos, melancholy, sadness and hopes are mixed together”.

Finally a new press for Olhava's classic album!
Gatefold sleeve with (double) oxblood red vinyls / LTD 300

10TH ALBUM ANNIVERSARY EDITION.

Black heavy 180 g vinyl housed in 350gsm gatefold with never publish song “Horizont temnoty” on LP + new back cover art by Dávid Glomba.

Purple Vinyl

11-Year Anniversary Edition of the since long unavailable EP

includes 4 bonus tracks and newly written essay on the featured songs by Kvarforth
mastered to perfection by Andy La Rocque in December 2022, and clad in refined artwork by Tuomas Tahvanainen and Nucleart Design.

Crystal clear & white marbled 12" vinyl in jacket with 4-page insert, including lyrics, liner notes, and pictures.
Limited to 450 copies worldwide.

In 1991, ROTTING CHRIST planted the seeds to their legacy with the release of their first ever EP, ‘Passage to Arcturo’.
The offering demonstrates the band’s feral infancy as they set forth on their journey to define their sound as we know it today.
Now, Season of Mist is reissuing this long-out-of-print gem to celebrate the band’s now-storied legacy.

Comes housed in 300 gsm sleeve with double sided inner sleeve on 220 gsm carton.

VREDENSDAL, founded 2018 by The Goblin Reaper in Green Bay, Wisconsin - with the intention to alter the typical expectations of what Black Metal can be, integrating multiple influences into a single dynamic force to call out the primal desire within all to look deeper into our own inner shadow. Dubbed "N.W.O.U.S.B.M." by fans, the music features styles both, the familiar and the unknown, which weave a tapestry of homages to the masters of yesteryear and explore new takes on the genre, most often in a thrashing & grooving madness. Fans of both the classic and contemporary Black Metal sound will find this outstanding act warrants repeated listening.

As it did with its first album, “Man, God, Giant,” in 2013, Katechon of Trondheim, Norway hereby releases its second full-length, “Coronation,” under the banner of Nuclear War Now! Musically speaking, “Coronation” picks up much where the previous album left off, having also been recorded at Nordstern and mixed, mastered, and produced by the band itself. Katechon’s music is characterized by precise, tremolo-attacking riffs, reminiscent of their Norwegian ancestors, Mayhem and Thorns. There are also hints of Autopsy’s brand of punk-infused death metal, both in the rhythmic patterns employed and the vocals, which oftentimes remind of the death grunts made famous by Chris Reifert, albeit here with more of a black metal influence. As with “Man, God, Giant,” Katechon has once again chosen the talents of artist Mari Oseland to portray its visual aesthetic. Nonetheless, there are noticeable differences between the two albums that enable them both to stand apart on their own individual merits. Whereas the songs on the first album were generally somewhat more straightforward and easily-digested, as well as a bit shorter, “Coronation” places a greater demand on the listener by invoking more dissonance, atonality, and a higher degree of intricacy in its compositions. Thematically speaking, “Man, God, Giant” was more metaphysical and philosophical in nature, complete with Lovecraftian creatures and images. In contrast, “Coronation” explores the autonomy of self – on the one hand alone, but on the other thriving in its complete freedom from society’s imposed norms, rules and doctrines. This album embraces the sickness and delirium that are prone to infect the imperfect being’s mind, and it prefers to proclaim Nietzsche a coward by instead staring directly into the abyss and diving right in.

Golden Vinyls.

To understand the defining traits of Greek Black Metal, one need only to listen to “The Tressrising of Nyarthotep” by the mighty Varathron. This track, first appearing on the “genesis of Apocryphal Desire” demo, possesses all of the victorious grandeur and tragic melancholia that are the essence of the early 1990’s Greek Black Metal sound. Along with contemporary releases by Rotting Christ and Necromantia, Varathron’s demo material firmly established a style that is thoroughly Grecian in character. Thick with a damp and heavy Hellenistic darkness, Varathron explored a sound that was infused with the epic and the ancient. As with so much of the most evocative and potent Black Metal, the ancient currents are revealed through the expression of the modern. Varathron’s music is as mystical as it is visceral. The recordings on this compilation comprise the earliest seeds of what would become one of the greatest bands in the history of the genre. This collection contains all of Varathron’s work leading the band toward the creation of their monumental debut LP, “His Majesty at the Swamp.” The two demos, “Procreation of the Unaltered Evil” and “Genesis of Apocryphal Desire” reveal the steps that Varathron took that would later come to fruition on their first album. This collection also contains the more refined tracks that were utilized on their first vinyl releases – the “One Step Beyond Dreams“ EP and “The Everlasting Sins” tracks from the split LP with Necromantia – and three additional bonus tracks recorded during the early years. As with the forthcoming Rotting Christ demo collection that NWN! will soon release, the songs on this compilation of Varathron’s early recordings reveal the painstaking emergence of a band’s identity. Absorbed in the context of early works by Varathron’s Greek contemporaries, one also witnesses the development of a sound uniquely specific to a geographic region, so specific, in fact, that it is impossible to imagine such a multidimensional approach to Black Metal originating anywhere else. Both the Regular and Die Hard editions of this release will feature gatefold jackets with artwork by Manuel Tinnemans and layout by Tilmann Benninghaus as well as a 48 page zine booklet. The Die Hard edition will also come with a separate LP (with jacket) featuring the “Live at the Swamp” demo material. Originally released on tape in 2004, “Live at the Swamp” features a live recording and rehearsal recording from 1991. These recordings have been remastered and cleaned up by James Plotkin and the sound quality on this LP, although still quite raw, is markedly better than the original tape version.

The relationship between Abigail and NWN! goes back to the 2002 vinyl release of the band’s first album, “Intercourse and Lust.” Since that time, Abigail and NWN! have each mutated into different beasts; however, the relationship between these two forces has remained intact through the years. To honor the nearly 20 year legacy of Abigail, NWN! is proud to present this vinyl collection of some of the band’s earliest work. Along with pioneers Sabbat and Sigh, Abigail have long been recognized as among the most influential Black Metal bands to have emerged from beneath the banner of the Rising Sun. While, in recent years, Abigail has shifted its focus to a more depraved blackened thrash sound, the early work presented on this LP is pure Black Metal played in a manner that is harsh and hostile. This LP opens with the five Abigail tracks featured on the band’s 1995 split CD with Funeral Winds. This material, which has never before been released on vinyl, displays the characteristic wickedness that permeates all of Abigail’s work. These tracks are not merely excursions in sound, however. Each song stands out on its own and the work as a whole evinces a sophisticated level of composition and production. Side B of this LP contains the tracks from Abigail’s first two EP releases. Nearly impossible to find now, “Descending from a Blackened Sky” and “Confound Eternal” contain some of Abigail’s most powerful and blackened revelations. The 1993 “Descending from a Blackened Sky” EP, executed entirely by Yasuyuki, is a magnificent breath of annihilation. Guided by furious and relentless blast beats, Yasuyuki’s style on this EP is more harsh and raw than most of Abigail’s other work. Yet, as with all Abigail recordings, amid the chaos there are well-crafted riffs and song structures that draw the listener deep into the demonic frenzy of the songs.

In the late 1980′s and early 1990′s, Brazil was like a Petri dish upon which grew, with bacterial rapidity, a particularly virulent strain of Deathrash that ushered in the first manifestations of South American Black Metal. In the early to mid-1980’s bands like Vulcano, Sarcofago, and Sepultura began to define a sound that has come to be distinctly associated with Brazil. Within the span of just a few years, a nucleus of bands playing this style quickly emerged, with each providing a variant on the bestial and primitive sound at the core of the Brazilian underground. As this rotten music festered in the sick corners of Brazil, it began to draw the attention of the international underground as bands such as Holocausto, Sextrash, Insulter, Chakal, and others unleashed their own warfare noise and a scene began to coalesce around them.
In 1987, a dark entity known as Necrofago was summoned into existence via the ominous incantations of vocalist/guitarist Deathvomit in association with Rotten on bass, Rotten Corpse on drums, and later joined by Post Mortem on guitar. Not to be confused with various other bands of the same name, this band came from Minas Gerais, Brazil. (Most notably, the Necrofago from Sau Paulo responsible for the “Desire for Blood” demo is often, despite the obvious sonic differences, mistakenly associated with the one from Minas Gerais.)
The entirety of Necrofago’s recorded legacy is encapsulated in their activities during the years 1897 and 1988 with the most important piece being their 1987 demo entitled “Brutal Mutilation.” One of the most unique sounding recordings to have come from the Brazilian scene, “Brutal Mutilation” exemplifies, unlike any other recording, the emphasis those bands placed upon harsh aggression and raw recording techniques. The demo sounds like the result of the potent collision of immense quantities cheap alcohol and inhalants in brains already awash in adrenaline and youthful testosterone. Lacking in nearly every category of technical proficiency, Necrofago focused their entire effort into creating a monument to savagery.
While the apparent ineptness of the playing may initially be off-putting to some listeners, those capable of suspending their need to generate order out of the chaos of the recording will find some of the most truly evil tracks committed to tape in the 1980’s. Even at the time of its release, the demo was well-received and found its way into the hands of some of the more legendary figures in the underground. When asked about Necrofago, Laruent Remadier of Decibel of Death Zine/Snakepit Magazine responded with the following: “Oh man! I recall Necrofago. I recall being in Morbid Angel house back in ’87 and having David mentioning them non-stop like Sarcofago.”
The guitars on the demo are brittle and sordid and rest uneasily atop the drums. The entire cacophonous mixture teeters on the brink of total collapse throughout each of the three tracks as the repetitious riffs, at times almost hypnotic, roil and churn. Deathvomit’s menacing vocals fill out the sound and add to the grotesque character of the music. Aside from the “Brutal Mutilation” demo, only a 1988 rehearsal demo and live recording from the same year exist to affirm the existence of Necrofago. These recordings are more obscure and ridden with even more impenetrable sound quality. Nonetheless, the vitriolic and intense nature of the playing is captivating.
Although these tracks have been bootlegged several times throughout the years, the band’s existence is still often overlooked, and, yet, their influence in the Brazilian scene was immense. This vinyl release marks the first time that these recordings have been officially reissued and will allow new legions to breathe in the foul death-odor emitted by Necrofago.

Burning Winds is a highly productive solo Black Metal concern of one Necrodan, owner of Necromantic Productions. Burning Winds rose from the ashes of First of the Fallen in 1997 and released their demo tape in 1999 limited to only 66 copies. Influences include Kreator, Sodom, Venom, Bathory, Hellhammer, Beherit, Blasphemy, Necrovore, Profanatica. Altar of the Goat demo was released in 2001 recorded in 2 days on Necromantic Productions limited to 100 copies, Blessed by Hell demo was released in 2002 on Satan’s Millennium Records from the Netherlands limited to 200 copies recorded 10/13-31/01. Nocturnal Evil split 7″ EP from 2010 on Baphometal Productions limited to 300 copies is the only Burning Winds release that was recorded with 2 session members one being Nunrapist (Wind of the Black Mountains, Masochist) on drums and Lord Klopek (Vladislas) backing vocals. The Misanthropy/Burning Winds/Kerberos – Where Darkness Reigns 3 way Split pro-printed booklet & on-CD printing. Co-released by Goat Productions, Necromantic Productions & Satan’s Millennium Productions limited to 333 copies released in 2003. All releases are recorded using 1 microphone on a analog 4-track recorder using cassette tapes to keep the sound raw and underground the way Black Metal was meant to be.

200x 180g, White vinyl edition with an innersleeve and a gatefold jacket.