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Titoli in Preordine - musica Black Metal e Dark estrema
Gatefold cover - extended king size booklet
Half orange half black
Kanonenfieber's debut Menschenmühle has been one of the self-produced highlights of early 2021. With its mature songwriting and uncommon thematic approach, the album is intended to commemorate the countless victims of World War I.
Men were thrown into a differing reality where only survival would count. Death, fear and hunger as a steady companion in the waist-deep trenches filled with mud. One order transferred people into cannon fodder in the human mill - World War I. The lyrical background of Menschenmühle is based on factual reports, letters and other documents from the surviving and deceased soldiers. The album was written, recorded and produced by Kanonenfieber from September 2020 to January 2021 in the Noisebringer studio.
Following the successful launch of the comprehensive reissue campaign for the musical legacy of Sweden's pioneering melodic death metal band Edge of Sanity and versatile hard rock outfit Nightingale, the fourth and final chapter of titles is set to be released in spring 2026.
Dan Swanö, the frontman of both EDGE OF SANITY and NIGHTINGALE, as well as a vocalist, multi-instrumentalist, and acclaimed metal producer (Opeth, Katatonia, Dissection, Bloodbath, etc.), released his debut (and only) solo album, Moontower, in 1999. This featured keyboard-oriented, atmospheric, and 1970s-inspired death metal.
Limited edition reprint (200) of the official 2016 re-issue. Co-released with H.O.D. Productions
Limited edition reprint (200) of the official 2016 re-issue. Co-released with H.O.D. Productions
Limited edition reprint (200) of the official 2016 re-issue. Co-released with H.O.D. Productions
Limited edition reprint (200) of the official 2016 re-issue. Co-released with H.O.D. Productions
Silver 12" vinyl (33rpm) in gatefold.
Limited to 250 copies worldwide.
Formed in Ukraine, DRUDKH have long shaped a body of work defined by atmosphere, patience, and inner exile. Their music consistently privileges emotional continuity over exposition, drawing strength from restraint and repetition.
‘Thaw’ stands as a direct continuation of the album ‘Shadow Play’, conceived during the same creative period and sharing its emotional and thematic foundation. Rather than expanding outward, the EP turns inward, presenting three compositions that function as a distilled appendix to the album’s world. ‘Thaw’ explores transition as instability, as a moment where movement begins while the surrounding landscape remains frozen. The songs unfold slowly, marked by suspended melodies, unresolved structures, and a heightened sense of stillness. Themes of memory, liminality, and fragile transformation are allowed to surface without emphasis or climax.
The EP’s reduced scope sharpens its focus, rewarding attentive listening and quiet immersion.
For fans of HATE FOREST, BURZUM, AGALLOCH.
Black 12" vinyl (33rpm) in gatefold.
First pressing 450 copies worldwide.
Formed in Ukraine, DRUDKH have long shaped a body of work defined by atmosphere, patience, and inner exile. Their music consistently privileges emotional continuity over exposition, drawing strength from restraint and repetition.
‘Thaw’ stands as a direct continuation of the album ‘Shadow Play’, conceived during the same creative period and sharing its emotional and thematic foundation. Rather than expanding outward, the EP turns inward, presenting three compositions that function as a distilled appendix to the album’s world. ‘Thaw’ explores transition as instability, as a moment where movement begins while the surrounding landscape remains frozen. The songs unfold slowly, marked by suspended melodies, unresolved structures, and a heightened sense of stillness. Themes of memory, liminality, and fragile transformation are allowed to surface without emphasis or climax.
The EP’s reduced scope sharpens its focus, rewarding attentive listening and quiet immersion.
For fans of HATE FOREST, BURZUM, AGALLOCH.
CD in 6-page Digipak.
Formed in Ukraine, DRUDKH have long shaped a body of work defined by atmosphere, patience, and inner exile. Their music consistently privileges emotional continuity over exposition, drawing strength from restraint and repetition.
‘Thaw’ stands as a direct continuation of the album ‘Shadow Play’, conceived during the same creative period and sharing its emotional and thematic foundation. Rather than expanding outward, the EP turns inward, presenting three compositions that function as a distilled appendix to the album’s world. ‘Thaw’ explores transition as instability, as a moment where movement begins while the surrounding landscape remains frozen. The songs unfold slowly, marked by suspended melodies, unresolved structures, and a heightened sense of stillness. Themes of memory, liminality, and fragile transformation are allowed to surface without emphasis or climax. The EP’s reduced scope sharpens its focus, rewarding attentive listening and quiet immersion.
For fans of HATE FOREST, BURZUM, AGALLOCH.
When it was first released in 1999, Cradle to Enslave, the second EP by Cradle of Filth, offered a glimpse of the band refining and broadening their sonic identity, which would eventually lead to the creation of a distinctive genre. This collection of intense and theatrical tracks features heavy driving riffs, sweeping orchestral touches, and the unmistakable voice of frontman Dani Filth. These tracks provide an accessible introduction to the band's ornately gothic extreme metal style and remain a highly sought-after release for collectors and new fans alike. It has been re-pressed in special formats, including red and black vinyl and a recycled eco-CD.
Second album of the trilogy on yellow and red marbled 12" vinyl (33 rpm) in deluxe gatefold with Pantone silver print and deluxe double sided insert with Pantone silver print.
Limited to 250 copies worldwide!
Had GREEN CARNATION never returned from hiatus, the Norwegian bards would always be remembered for completing one of the most ambitious individual epics in metal’s historic archives. However, there was one tale — or three, to be exact — that eluded them for more than three decades. Now, after reaching crushing new highs during its opening chapter, they’re descending into deeper, darker and more personal depths with part II of ‘A Dark Poem’.
If ‘The Shores of Melancholia’ set sail from a familiar place of melancholy, then ‘Sanguis’ opens with GREEN CARNATION far out at sea, fighting to stay afloat against the storm that’s raging in their minds. Over the course of nine minutes, the album’s epic title track vows to forgive and forget familial wreckage, washing away the bloody stains of the past with impassioned cleans and a chorus that radiates conviction — only for a traumatic memory to come flooding back during its doomy coda. The newfound heaviness from the first part of ‘A Dark Poem’ continues to age like a fine wine, balancing sweet meaty riffs with an underlying bitterness. “I Am Time” demands immediate recognition with a guitar melody that winds like the winds of change. But part II reveals the band at their most raw with ballads that unfold with the grace of a wilted flower.
“The end justifies the means, you’ll see”, Kjetil Nordhus sings with an eerily quiet confidence. As its final tale seeps beneath the moonlight, ‘Sanguis’ leaves fans hanging in suspense over where this trilogy will end.
For fans of OPETH, PARADISE LOST, KATATONIA, PAIN OF SALVATION.
Second album of the trilogy on black 12" vinyl (33 rpm) in deluxe gatefold with Pantone silver print and deluxe double sided insert with Pantone silver print.
1st pressing 500 copies worldwide.
Had GREEN CARNATION never returned from hiatus, the Norwegian bards would always be remembered for completing one of the most ambitious individual epics in metal’s historic archives. However, there was one tale — or three, to be exact — that eluded them for more than three decades. Now, after reaching crushing new highs during its opening chapter, they’re descending into deeper, darker and more personal depths with part II of ‘A Dark Poem’.
If ‘The Shores of Melancholia’ set sail from a familiar place of melancholy, then ‘Sanguis’ opens with GREEN CARNATION far out at sea, fighting to stay afloat against the storm that’s raging in their minds. Over the course of nine minutes, the album’s epic title track vows to forgive and forget familial wreckage, washing away the bloody stains of the past with impassioned cleans and a chorus that radiates conviction — only for a traumatic memory to come flooding back during its doomy coda. The newfound heaviness from the first part of ‘A Dark Poem’ continues to age like a fine wine, balancing sweet meaty riffs with an underlying bitterness. “I Am Time” demands immediate recognition with a guitar melody that winds like the winds of change. But part II reveals the band at their most raw with ballads that unfold with the grace of a wilted flower.
“The end justifies the means, you’ll see”, Kjetil Nordhus sings with an eerily quiet confidence. As its final tale seeps beneath the moonlight, ‘Sanguis’ leaves fans hanging in suspense over where this trilogy will end.
For fans of OPETH, PARADISE LOST, KATATONIA, PAIN OF SALVATION.