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Back in stock - Extreme Metal and Dark music
In 2020, NÔIDVA arrived with the full-length Windseller. A then-brand-new entity, the Finns featured members of labelmates SACRIFICIUM CARMEN and RIIVAUS. Although detectably Finnish black metal in sound and style, NÔIDVA uniquely focused on Laplandish shamanism - and now they return to further flesh out that vision.
Tellingly titled Lappish Shatanism, NÔIDVA's second album bears many of the same traits as its predecessor: a mysticism both magickal and more so folkloric, and a melodicism that stirs the more courageous side of one's spirit rather than immediate and irrevocable bloodlust. However, despite featuring the same four-piece lineup, Lappish Shatanism heads toward rougher, daresay-rowdier territory - more earth and dirt rather than the atmospheric undercurrents of Windseller - with that rowdiness rendering their folk affectations all the more austere and severe. Still, NÔIDVA reveal themselves to be astute practitioners of tradition, poignantly imparting a favorably late '90s aspect in form and feel; whether one wants to qualify it as "pagan" black metal matters not when faced with such stellar quality. Leads prominent but parceled out, Lappish Shatanism is thus a work of undeniable passion - never belabored, but refreshing as it is reverential. The past is still alive across Lapland!
Cold black metal from Unreqvited mastermind
Classic black vinyl edition of 300
Innersleeve printed with lyrics
The House is one of the many names of Vladimir Pavelka (Cult Of Fire, Death Karma).
As a small child, he watched Evil Dead on a VHS tape by accident. It left him scared, but he also started to be fascinated with death and horror films. At the age of 17, he stole his school's money and used it to buy his first guitar. It was clear that he wasn't going to play folk songs but something darker and more terrifying. At 19, he began working in a morgue where his fascination with death deepened to such an extent that it became his daily routine and a part of his life to this day. Now you can enjoy his tribute to famous horror soundtracks and films.
Let there be death and horror!
Linked here, is the first single "A Parody of Medea" from Plateau Sigma's new album "Symbols - The Sleeping Harmony of the World Below", that will be out on October 25.
Originally released in 2015, ÁRSTÍÐIR's third album 'Hvel' offers atmospheric, hauntingly beautiful songs that take elements of folk, rock, and classical music among other styles, which are arranged into new patterns that have invited comparison with RADIOHEAD, SIMON & GARFUNKEL, PENTANGLE, ÓLAFUR ARNALDS, and most of all SIGUR RÓS. The latter happens perhaps inevitably due to superficial similarities as ÁRSTÍÐIR often sing in their native Icelandic tongue and use acoustic instruments extensively.
Ascolta su YouTube
Ferum is a death doom metal band originated in Italy, but now scattered
over two countries. Asunder / Erode, the band’s debut album, is an
obsessive and monolithic record. Slow, funereal riffs are tied to faster,
sharper parts, while harmonized melodies and solos paint a cavernous
atmosphere. The drums wisely marches, moving from the background into
the spotlight, always followed by the bass guitar.
Asunder / Erode was recorded and mixed at Walter Productions in Tallinn,
Estonia by producer and sound engineer Are Kangus. The studio is located
inside the historic Tallinna Linnahall, a behemoth built during the Soviet
occupation. Today it is an urban wreck kept alive by few commercial
activities which are based on the inside: it is in fact closed to the public,
with the exception of some parts. Its interior is a maze of stillbirth potential,
and inspired one of the album's pieces.
The record was mixed completely in analogue to give the songs a deeper,
more archaic, real thickness. The master by Dan Swanö added the final
touches, making the album consistent, organic and even heavier.
Conceptually, Asunder / Erode is a journey that explores the idea of
separation and its dichotomy, up to erosion and collapse. This is
represented in a morbid and extreme way by the cover by Maestro Paolo
Girardi. The choice of oil on canvas follows the same logic of the analogue
mix: to make the whole as natural, as real as possible, and to pay homage
to the influences that inspired Ferum, by reinterpreting them
Ferum is a death doom metal band originated in Italy, but now scattered
over two countries. Asunder / Erode, the band’s debut album, is an
obsessive and monolithic record. Slow, funereal riffs are tied to faster,
sharper parts, while harmonized melodies and solos paint a cavernous
atmosphere. The drums wisely marches, moving from the background into
the spotlight, always followed by the bass guitar.
Asunder / Erode was recorded and mixed at Walter Productions in Tallinn,
Estonia by producer and sound engineer Are Kangus. The studio is located
inside the historic Tallinna Linnahall, a behemoth built during the Soviet
occupation. Today it is an urban wreck kept alive by few commercial
activities which are based on the inside: it is in fact closed to the public,
with the exception of some parts. Its interior is a maze of stillbirth potential,
and inspired one of the album's pieces.
The record was mixed completely in analogue to give the songs a deeper,
more archaic, real thickness. The master by Dan Swanö added the final
touches, making the album consistent, organic and even heavier.
Conceptually, Asunder / Erode is a journey that explores the idea of
separation and its dichotomy, up to erosion and collapse. This is
represented in a morbid and extreme way by the cover by Maestro Paolo
Girardi. The choice of oil on canvas follows the same logic of the analogue
mix: to make the whole as natural, as real as possible, and to pay homage
to the influences that inspired Ferum, by reinterpreting them
Neon magenta w/ black & mustard yellow splatter vinyl version!!! Vancouver’s Auroch return with new music for the first time in nearly four years. The new mini-album Stolen Angelic Tongues draws upon the magical and spiritual traditions of South America and the Caribbean as their histories, past and present, represent a microcosm of the great spiritual rebellion that has been the band’s inspiration throughout its singular discography. An ever-evolving beast of the deep, here Auroch conjure vicious black / death spells of occult necromancy and technical sorcery, making manifest a dark vision of obscure magic. Returning to the fold is original vocalist Culain who here summons demons of the abyssic fire with savage equanimity. Joining with their Covenant Circle brethren in Night Profound and Aos Si, eerie ambient recordings bookend the concept piece to dramatic effect. The CD version of the release, re-titled All The Names Of Night not only includes the Stolen Angelic Tongues mini-album, but compiles three additional tracks from the earlier age of Auroch, including their Seven Veils EP tracks and their contribution to the split with Mitochondrion, representing an evolutionary document of the bands trajectory through it’s first phase.
First press comes in a deluxe packaging: digipack with extra UV foil print, 12 pages booklet and in outer slipcase // OUT OF PRINT NOW
With their sophomore album Imperative Imperceptible Impulse, Ad Nauseam took a step forward in terms of composition, musical structures and sound. Music is not intended as a mere sequence of riffs that sounds well one after the other, but is now a naturally ordered structure where almost every musical event refers to the past and/or predicts the future, generating very layered and complex patterns dominated by polyphony and polyrhythms and where each instrument has its own role and is essential in the whole. The music represents a merging of many different styles, the most prominent ones being extreme death/black metal, avantgarde, jazz, post-core, doom/sludge and ambient.
The composition process of Imperative Imperceptible Impulse has been heavily influenced by 20th century classical composers like Stravinsky, Šostakóvič, Xenakis, Scelsi, Penderecki and Ligeti, to name a few. Both the concepts of harmony and melody have been put into discussion to get a music where harmony is obtained by means of disharmony and melody by dissonances. To push this method even further, a unique tuning system has been conceived, to allow a new harmonic vocabulary and to eradicate the players from the comfort zone of the usual melodic patterns every guitar/bass player is used to.
