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Deluxe Digipack-CD with booklet and A3 poster

Finally the debut album of one of the most revered and appreciated underground band in the world: NE OBLIVISCARIS from Australia! 71 minutes of Intense Progressive Extreme Metal like you never heard before. Another Dark gem to the code666 collection. This is the International Deluxe Digipack edition, including full booklet, A3 poster and exclusive extra artwork.

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Deluxe Double Vinyl of the now legendary "Vilosophe" album from 2003 including 7 bonus tracks from the cult "View" EP from 2006. Pressed on translucent Red vinyl with a Gatefold jacket and printed inner sleeves.

New York City experimental black metal tacticians IMPERIAL TRIUMPHANT present their new album titled Abyssal Gods, mixed and mastered by Colin Marston (Gorguts, Krallice, Nader Sadek, Atheist, Origin etc.) at Menegroth, The Thousand Caves in New York and boasts the apocalyptic cover craftings of Andrew Tremblay (Deadbots, Downlow’d, Deathface etc.). Focused on urban decay and the imminent extinction of mankind, IMPERIAL TRIUMPHANT’s Abyssal Gods serves as the follow-up to the band’s critically applauded, 2013-released "Shrine to the Trident Throne" album and contains ten punishingly traumatic odes of strategically composed black-addled mayhem bedecked in angular riff incursions, bestial vocal tirades and an overall air of disease.

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New York City experimental black metal tacticians IMPERIAL TRIUMPHANT present their new album titled Abyssal Gods, mixed and mastered by Colin Marston (Gorguts, Krallice, Nader Sadek, Atheist, Origin etc.) at Menegroth, The Thousand Caves in New York and boasts the apocalyptic cover craftings of Andrew Tremblay (Deadbots, Downlow’d, Deathface etc.). Focused on urban decay and the imminent extinction of mankind, IMPERIAL TRIUMPHANT’s Abyssal Gods serves as the follow-up to the band’s critically applauded, 2013-released "Shrine to the Trident Throne" album and contains ten punishingly traumatic odes of strategically composed black-addled mayhem bedecked in angular riff incursions, bestial vocal tirades and an overall air of disease.

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A psychoprog black metal album of trippy melodies and satyric ecstasy. MASTERED by Jens Bogren, Sweden (Opeth, Katatonia, Amon Amarth) - MIXED by Dim Douvras (Rotting Christ) ARTWORK by RA Design (Ulver)

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Winter is the fifth album from Progressive Black Metaller FEN, a colossal piece of work for the English three-piece, at once rich in sound, beguilingly delicate, and yet laced with cold darkness. produced by of Jaime Gomez Arellano (Ulver, Primordial, Solstafir).

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Already considered one of the best albums in 2011, "Epoch" starts where the previous "The malediction fields" ended: Post Rock, Ambient and acoustic passages perfectly paint a foggy and desolate landscape, where the apparent stillness is dispelled by Black Metal outbursts.
 

"Carrion Skies" è il quarto album degli inglesi FEN, autentici maestri nel fondere atmosfera e pathos all'interno di strutture tipicamente black metal.
con questo disco il Trio britannico riesce nell'impresa di superare e migliorare i pur ottimi album precedenti, raggiungendo apici compositivi mai toccati fino ad ora. Grazie a suoni pressoche perfetti, le canzoni fluiscono in maniera cosi' spontanea e naturale che si viene rapiti da un'autentica estasi metallica.

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Second and best album of this swedish industrial black metal band , following the footsteps of legendary Mysticum

‘HOSTILE ARCHITECTURE is a sonic exploration of the ways that subjects under late capitalism are constrained and set in motion via the various structures that uphold stratification and oppression in urban contexts. It is inspired by brutalist, postmodern and utilitarian architectural structures that are found throughout post-industrial cities, hauntological in nature, being designed to provide for the populace through affordable housing but ultimately cost-cutting exercises and unfit for purpose. The term hostile architecture refers to design elements in social spaces that deter the public from using the object for means unintended by the designer, e.g. anti-homeless spikes, which the album presents as emblematic of a foundational contempt for the poor and working class, an exemplification of a status quo fortified in concrete. The album invites the listener to explore the dissonance of these contradictions in their own circumstances and perhaps consider possibilities for a world beyond what Mark Fisher called “Capitalist Realism.”’