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 Reprint, 500x heavyweight galaxy (black/silver) 12" (180g) in a black poly-lined innersleeve, insert 2 page on 140g offset paper, gatefold jacket on 350g uncoated (matte) with UV parcial lacquer, all assembled in a PVC overbag.

 Reprint, 300x heavyweight galaxy (evergreen/silver) 12" (180g) in a black poly-lined innersleeve, gatefold jacket, full-color printed on 350g carton, coated paper (semi-gloss), all assembled in a plastic overbag.

Sgàile is the artistic endeavour of Scottish multi-instrumentalist Tony Dunn, of which Avantgarde Music released the overlooked, yet greatly crafted debut Ideals & Morality in december 2021. Two years later, the talented Scot is back with his sophomore opus, Traverse The Bealach, which he describes as follows.

“When I started the Sgàile project in 2018, and through the writing and recording of Ideals & Morality, I wasn’t sure that anyone would take to the style, or even care. This time around I knew I had a small audience that enjoyed what I was doing so I felt free to create from pure instinct. 

With that freedom came focus and direction, which led me to create a concept album, a venture that I had never previously attempted. What this did was create a driven narrative that brought a maturity to the Sgàile sound.

Through the recording process, there was a feeling of refinement, taking the lessons I learned from Ideals & Morality and carefully honing them to improve the overall production. Working with Mike Lamb (Sojourner, Remina) for a second time really helped to pin down the sonic quality that I was looking for. 

The story of Traverse The Bealach is that of a nomadic traveller in post-apocalyptic Scotland, trying to figure out his fate and facing the elements while travelling north, battling inner demons along the way. Thematically, the inspiration came from the events of the pandemic, our ongoing battle with climate change, and my fascination with long distance trekking.”

CD in Digipak with 16-page booklet

French black metal pioneers SETH have once again lit the flame of the early days with ‘La Morsure du Christ’, which can be seen as a sequel to their 1998 acclaimed debut ‘Les blessures de l'âme’.

Returning to their original sound, the band use French alexandrine verses in their lyrics and choose a striking image as an album art. In a world moving further away from religion and spirituality, the demise of Notre Dame de Paris symbolizes the end of the Christian reign and the ultimate betrayal of God. From the ashes of the cathedral, a godless world will come into being.

For fans of ENTHRONED, ABIGOR, ANCIENT, AETERNUS

CD  reissue by Icarus Music Productions

Ole Alexander Halstensgård, Kristoffer Rygg, Tore Ylwizaker and Stian Westerhus – went full isolation in their studio below the haunted hill, fantasizing about bygone nights of slasher, exploitation, and giallo. Three or four months went by, the band returned to the living, and sent their radiophonic workshop experiments off to the Dogs of Doom, France, where friend and fellow film freak, Carpenter Brut did a razor-sharp mix before taking it to Thibault Chaumont (Deviant Lab) for the master.

Scary Muzak, on one hand a homage to Carpenter’s themes – five out of twelve tracks are covers whereas the rest comes from the outer realms – and on the other zooming out on the aesthetics of the late ’70s and early ’80s popular culture. It is perhaps the Norwegians’ most hauntological moment, whirling up themes and moods, horrors and mysteries hidden in the foggy back alleys of your youth. Imagine the gloomy siblings of Les Humphries, Gert Wilden, and their respective orchestras, armed to their teeth with synths, pads, FX. Sometimes classy and chilling, other times amusingly smooth and sleazy, and at times outright beautiful in its suspense-filled vigour, Scary Muzak is an inspired, goblinesque addition to the ever-expanding Ulver catalogue. Interior films, remember?