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Back in stock - Extreme Metal and Dark music
Limited Collector's Edition of 999 copies in 4-panel digipack.
This EP compiles the two songs "Ixion" & "Phantasmagoria" that were previously only available from Faidra's Bandcamp site, as well as the new song "Dies Irae", together for the first time on physical format.
“The Fallen Leaves” is the fourth full-length album from Dwarrowdelf.
Representing a new beginning for the project, the record displays lyrical themes of sorrow, struggle, and grappling with reality.
Taking further inspiration from the diverse blend of influences that drove 2021’s “Cold Lie the Ashes” yet cohesively retaining the trademark Dwarrowdelf sense of scale and atmosphere, this album truly sounds like nothing else.
The CD comes as Collector’s Edition in 6-panel Digipack, limited to 500 copies.
BLACK VINYL
Back in the mid 2000’s Norwegian Black Metal was but a faint memory. With the originators treading different paths from where it all started, a craving for what once was needed to be refueled. A small group of individuals from Trondheim, Nidaros found each other and reignited that flame. Through the same malicious intent of creating havoc yet again, distancing ourselves from the current Norwegian ‘scene’, the Nidrosian movement began. This was never meant to be a selling point, nor has it ever been a gang mentality.
It’s simply a handful very different individuals treading the same left hand path, dabbling with aspects of Black Metal unheard of since the glory days. I won’t go into details and incriminate people around me like a certain Count once did, but let’s just say the stories are endless and something we fondly look back at to this day, and dare I say the spirit of old still runs deeply through our veins.
The reason why all projects that flourished from our band of brothers sound different, yet firmly rooted in Black Metal, is due to each project having different masterminds. Everyone contributed by aiding each other. Several demos and projects arose, but one specifically stood out by far very early on. A project that to this day stands like a pillar of Norwegian Black Metal history; KAOSRITUAL.
The band was founded, rehearsed and recorded based off our interpretations of early 90’s Black Metal. The era of murder, arson, Black Magick and spite. I firmly believe what you hear on these recordings, are the same chaos that fueled the originators, and is as genuine as the old classics. I was sitting right there alongside H. "Sarath" Dalen, while he recorded this on tape in the basement of our record store Apocalyptic Empire, in the heart of Nidaros back in 2005. Reminiscing back, I’ll never forget the intense atmosphere, dedication and focus the band had, something I’ve never experienced since, just like their live shows. Nothing will ever compare. The store was very much exactly what Helvete was in the 90’s: a record store ran by us for us, with a basement where recordings were happening non stop, even during the opening hours. The basement was a collective ground for us where lifelong friendships arose, parties ensued, and inspirations were endless. Imagine locking up a bunch of miscreants devoted to the same cause, with no boundaries, no thought or respect for anyone, just all focused on one thing: BLACK METAL. This was always for ourselves, hence why releases are so sporadic. I am truly grateful to not only having been there throughout the beginning, but to have been granted the exclusive right to release several of these gems, and to be able to call these genuine artists and individuals my close friends to this day.
We present to you the restored version of the one and only KAOSRITUAL - Svøpt morgenrød, plus the infamous Rituell katarsis demo and more, remastered by our friend M. of MGLA/No Solace. A special thanks to him for adding his magick to these incredible recordings, and I want to personally thank Blix and Tvedt for letting me finally unleash this upon the world.
B4 Hot Pink / Black Merge
• One of two simultaneously released new albums by Bay Area surreal blackened technical death metal band
• Each album cover is half of a larger original piece created for the band by Ian Miller (Stormkeep, Bolt Thrower, Games Workshop)
• 2020 album Providence was widely hailed for its unique style of death metal
• For fans of Atrocity, Enslaved, Gorguts, Demilich, Krallice, Voidceremony, Tomb Mold, Suffering Hour
Red Cloudy
A Tzompantli, in bygone days, was a rack used to display human skulls, often of enemies or sacrifices, in several Mesoamerican civilizations. In 2022, Tzompantli is a beyond-crushing death doom war march built on a bedrock of Native / Indigenous themes, rituals and history, illuminating the splendor, brutality and despair within.
Nearly three years after the band’s self-released EP, Tzompantli’s debut full length presents the first smoke-conjured specter to manifest materially. Tlazcaltiliztli, a ritual ceremony that translates to “nourishing the fire and sun with blood”, is imbued with the spirit of Native inspiration that dwells deep within the heart and soul of the project and is skillfully weaved into a traditional bludgeoning framework of spine-severing savagery and melancholic anguish. On the ritualistic “Eltequi” (to cut the chest open and extract the heart as an offering) the band’s unification of native / folk instrumentation and heaviness becomes one in the same, opening vast new horizons for where this sound can go.
Tlazcaltiliztli is dedicated, and an offering, to the indigenous peoples, nations and tribes of the North, South, East and West of the American continents. It marks a fearsome and spirited new vision for the death metal underground.
B9: Koi Pond Marble.
Swamp Green / Baby Blue Merge
After releasing three albums in three years and then spending the next four in the wilderness, Tomb Mold has been reborn on fourth album The Enduring Spirit, a thoroughly unabashed step into vast new territories. Yet for all its frenetic daring and audacious exploration, it is never anything other than unmistakably Tomb Mold.
While the expanding Tomb Mold architecture could be heard on last year’s self-released Aperture Of Body tape, it comes into clear focus throughout The Enduring Spirit. Certainly Derrick Vella’s time creating within and expanding the doom genre in Dream Unending has seeped into the flesh of Tomb Mold, not to mention Payson Power and Max Klebanoff’s explorations in their own Daydream Plus project.
With album opener “The Perfect Memory (Phantasm of Aura)” the band’s angular dimension shifting riffing appears right out of the gate as the track travels through varying degrees of progressive death metal and some of the band’s most extreme material yet. “Will Of Whispers” enters with a jazz-like fantasy sequence before careening into a blinding white light barrage, tasteful guitar leads and back to a dreamy serpentine pattern, encompassing whole universes in its nearly seven minute run-time.
Blue Algae Marble
With their anticipated debut full length Seraphic Punishment in 2022, Fargo’s Maul dropped one of the most memorable death metal earworms of the year. Coupled with the band’s relentless drive for bringing their music to the people live throughout the country, Maul’s reputation rapidly grew and a pact with 20 Buck Spin was scrawled in blood. The initial fruit of that union was delivered late in 2023 with the Desecration And Enchantment promo tape. And now all roads have led to Maul’s second album, In The Jaws Of Bereavement.
While the rotten death metal heart at the core of the band is without question, the band have no shame in their game when it comes to embracing a penchant for the heavier side of hardcore with mosh-ready riffs and crowd-killing breaks. In The Jaws Of Bereavement manages to so skillfully fuse the eerie apparitions and melodic lead work of death metal’s greats with the punishing rhythms of hardcore’s violent power it feels completely organic. It’s all tied together by the unhinged vocal prowess of the human wrecking ball Garrett Alvarado.
At its putrescent core Maul is a live band, and the songs on In The Jaws Of Bereavement are adeptly tailored to the environs of a dank club sweltering from the energy created through this music and a crowd living for nothing but the moment and the swell of bodies on bodies. The production here is clear and in one’s face, and allows the band to expand their unique blend of old and new to become Midwest death incarnate.
