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Selling CD - Extreme Metal and Dark music
Stjärnfält is a musical project led by M. Originally from Australia, at some point the mysterious multi-instrumentalist relocated to Sweden, where he still lives to this day.
Lapporten is the project sophomore album and follows two years after the debut Ascension. These four, atmospheric, trancey tracks are a detail of M.'s travels through northern Sweden, and attempt to capture it's contradicting nature of isolation and expanse; bleakness and beauty.
Let Stjärnfält guide you up the “Kebnekaise”, Sweden’s highest mountain, wander with him through the green area of “Bruksleden” and behold the magnificent “Polarsken” and Séracs. Lapporten itself stands for “The Lapponian Gate”, a u-shaped valley located in Lapland.
Merging dreamy, hypnotic atmospheric metal with icy electronic trance soundscapes, M. describes Stjärnfält's music as "melancholic optimism".
Digibook CD with UV spot varnish and golden hotfoil embossing on cover, and booklet.
FALKENBACH were originally conceived as a solo-project by Vratyas Vakyas and officially came into being with the "Læknishendr" demo in 1995. On his third full-length, "Ok nefna tysvar Ty", the German continued to navigate straight along the course that he had set on the previous two releases. This meant a further reduction of obvious black metal elements, while adding more melodic and folkish parts. Yet musically as well as in their lyrics, FALKENBACH firmly went on to spearhead the pagan metal style that became so very popular only a few years down the road. Vratyas Vakyas starting to work with guest musicians from this album on, gave his sound more of a band feeling as well.
Digibook CD with UV spot varnish and golden hotfoil embossing on cover, and booklet.
FALKENBACH were originally conceived as a solo-project by Vratyas Vakyas and officially came into being with the "Læknishendr" demo in 1995. When FALKENBACH's second album " ...Magni blandinn ok megintíri..." appeared in 1998 it offered a refined, matured and more melodic continuation of the blackened pagan metal style that took influences from both Bathory and the second wave of Nordic black metal, which the German multi-instrumentalist had established two years earlier on the debut full-length " …En their medh riki fara…" (1996). " ...Magni blandinn ok megintíri..." is widely considered to be an important milestone of its genre.
Digibook CD with UV spot varnish and golden hotfoil embossing on cover, booklet and bonus track "Skirnir".
FALKENBACH were originally conceived as a solo-project by Vratyas Vakyas and officially came into being with the "Læknishendr" demo in 1995. With the fourth full-length, "Heralding – The Fireblade" (2005), the German released material that was originally intended for the debut album, but due to production issues got delayed and later re-worked. This meant a somewhat hybrid album that to the delight of their early fans had more of the black spirit of the legendary first full-length " …En their medh riki fara…" (1996), but also featured the matured pagan metal sound, which FALKENBACH had gained over the course of the following two albums.
Comes in digibook packaging with a gold foil logo on the front. It has a 12-page booklet inside.
Track 8: The Heralder is marked as a bonus track.
Comes in a 4-panel digipack with a 12-page booklet.
The wonderfully productive Swiss atmospheric Black Metal band AARA return with urgency to unleash "Triade II: Hemera", their 4th full-length since 2019 and the second chapter of the Melmoth trilogy.
Based upon the 1820 Gothic novel 'Melmoth the Wanderer' by Charles Robert Maturin - and closely connected in style and atmosphere to 2021's initial instalment "Triade I: Eos" - each of the 6 brutally melodic tracks follows the book's chronological mid-point narrative in a dazzling critical examination of theism and scepticism through the medium of top-tier Black Metal.
Although conceptually aligned with part one of the trilogy, "Triade II: Hemera" further-advances the AARA sound into realms of progressive extremity: defined once again by the beauteous lead melodies of composer/guitarist Berg, the record combines a raw violent undertow with subtle rhythmic shifts, left-field riffs/refrains and sublimated vocal savagery - interweaving Christian choirs, the Jewish shofar horn and traditional Indian vocal samples into yet another outstanding offering from an unstoppable young band overflowing with ideas and confidence.
E-L-R's sophomore full-length "Vexier" oscillates elegantly between velvet darkness and flaring bursts of high energy. The style of the Swiss has been dubbed 'doomgaze' and 'post-metal' and both terms apply loosely to the trio's meandering, down-tempo doom-epics. E-L-R's hypnotic phrases that are constantly varied and warped in repeating loops are reminiscent of shamanic rituals imbued with psychedelic colours. The trio weaves a subtle tapestry with diligence and persistence that depicts a labyrinth full of intricate details and hidden treasures.
“The Long Defeat” unfolds over three parallel storylines told via three different mediums. Two in writing: the lyrics, as well as a fable. The third speaks through the artwork – two metres’ worth of maniacally detailed visions depicting the same premise its written content draws from. All three are fundamentally entwined but diverging in narrative, each complementing or contradicting the others.
