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Selling vinyl - Extreme Metal and Dark music
The Gates play „Magick Metal“, combining their own brilliant interpretation of old school Occult Rock, Gothic/Death Rock and Psychedelic Metal with additional Black Metal vocals. Visually, they use classic psych imagery such as colourful artwork and magic mushrooms in combination with occult symbols, while their lyrics also focus on classic forms of occultism and psychedelic experiences.
Seemingly out of nowhere, in 2021/22 they delivered with their debut "...of Pandemonium" an absolute killer album full of occult hymns that quickly found many fans and helped them to gain a very dedicated fan base.
About a year later followed the equally phenomenal EP “As Above, So Below”, first released digitally and as a split-LP with Behrosth, and in 2024 finally reissued as a stand-alone MCD and MLP alongside the band’s second album.
On this new album, entitled “…of the River Styx”, the band continues to develop their unique style, incorporating more noticable nods to 80s synthesizer/disco music and Gothic/Death Rock. While the influence of the controversial originators of Magick Metal, Black Magick SS, is still noticable, The Gates easily manage to distinguish their album in terms of music, concept and visuals, and prove that they, too, have the potential to enlighten the suffering collective human consciousness through the cosmic brilliance that was given to the world in the form of Magick Metal.
Once again they show their unfailing ability to write songs and melodies that as a fan you simply can’t stop listening to until they have become a part of your very being. As before, singer Galigula truly shines, and his clean vocal performance on the final track “Blind Descent” makes you think you’re listening to none other than The Cure’s Robert Smith at the top of his game, showcasing Galigula’s incredible talent as a vocalist.
The Gates’ “…of the River Styx” solidifies the band’s status as uniquely talented musicians that dare to venture into as yet unconquered musical territories and forever leave their indelible mark.
The Garden Of Unearthly Delights was the eighth studio album by British Doom legends Cathedral, for which they were signed by Nuclear Blast Records in Germany. The album received a lot of critical acclaim and was well received by fans alike. Tracks such as Corpsecycle and North Berwick Witch Trials were firm favourites and staples in the live setlists right up until the bands end.
Produced by warren Riker (Fugees, Corrosion Of Conformity, Down, Cynic etc), it had a revitalised energy, which saw the band touring relentlessly around the globe once again.
Choc full of the usual monstrous riffs, strange subject matter and non-conforming twists and turns that Cathedral became known for, it’s crowning achievement was epic 27-minute track simply titled The Garden. It’s a Doom prog odyssey which took the listener through a myriad of arcane environments and odd musical passages.
The term ‘back from the grave’ takes on a whole new meaning with the release of this (thought to be long lost) epic recording by the much-missed British Doom Metal lords: Cathedral. Society’s Pact With Satan was the last ever recording made by the band, back in 2012. It was recorded at the end of the sessions for their swan song album; 2013’s The Last Spire. But, for some reason, the 30-minute track was not mixed at the time, thus pretty much forgotten about by everyone involved, until very recently.
Rediscovered by producer Jaime Gomez Arellano, whilst sorting through his old studio recordings, he excitedly alerted the band, saying that he had discovered a long-lost gem. Upon hearing it, the band members were convinced enough to agree that it should see a commercial release.
So, here we have it: the final sermon by Cathedral and what a way to go out. It’s an unapologetic, uncompromising exercise in macabre observations, musical eccentricity, brutal riffing and general arcane self-indulgence. There genuinely was/is no other band like Cathedral. Just ask Tony Iommi.
After an almost decade-long period of dwelling in the shadows, Koldbrann returned with a series of select festival appearances in 2022/23, premiering new material and proving that they're still full of cold grimness and misanthropy, and completely void of compromise. After last year’s 2-track 7” single “Den 6. Massedød (Manna fra en annen himmel)”, their long-awaited 4th album “Ingen Skånsel” is ready to be unleashed - and Koldbrann is sounding rawer, harsher and better than ever. Even though deeply rooted in the True Norwegian Black Metal tradition, Koldbrann has carved out their own sound within the genre confines and it sounds fresh, raw and different. There’s a fierce nerve running through the album, and the songs stand out from today’s typical black metal sounds. You can feel the aggression throughout the whole album. “Ingen Skånsel” is one of the most interesting, aggressive and fierce Norwegian black metal albums in modern times!
After the two albums Nattestid and Bjoergvin, Taake completed the trilogy with Doedskvad. Recorded at Grieghallen Studios, with guest appearances from cult black metal artists such as Nattefrost (Carpathian Forest), Nordavind (ex-Carpathian Forest) and Taipan (Orcustus), Doedskvad is a pure, cold and grim black metal masterpiece. Doedskvad has not been pressed on vinyl since 2016 but is back in 2018 on an extremely limited run.
18+, Barely Legal. Yes, it has been over 18 years since I HATE first released the VULCANO/NIFELHEIM split in 2006. Back then as a 7” and CD. The release to this day still contains two exclusive non album studio tracks by both bands. Time has come to finally make this abomination available as a 12” LP. The vinyl will also feature NIFELHEIM’s version of “Insulter of Jesus Christ” (DAMNATION cover). Previously only available on the 2006 CD-version (The track features guest appearance by Jon Nödtveidt – his last ever recording prior to his passing).
180g vinyl, thick insert incl. lyrics, and a designed download card for the digital album.
Following a five-year hiatus, Denmark’s SUNKEN return with Lykke – four meticulously crafted tracks of atmospheric black metal, running nearly fifty minutes.
Lykke is an exploration of contrasts: intense, unrelenting passages built on blast beats and layered riffs give way to moments of striking calm and melody. Orchestral textures, choral arrangements, and mournful strings weave seamlessly into the sound, while anguished vocals cut through with precision.
The result is a work that balances aggression and atmosphere with rare finesse. Every shift feels deliberate, every return to stillness earned. This is atmospheric black metal at its most refined - immersive, dynamic, and emotionally resonant.
For listeners who value both weight and nuance in their black metal, Lykke is a standout release from a band at the height of their craft.
180g vinyl, thick insert incl. lyrics, and a designed download card for the digital album.
Following a five-year hiatus, Denmark’s SUNKEN return with Lykke – four meticulously crafted tracks of atmospheric black metal, running nearly fifty minutes.
Lykke is an exploration of contrasts: intense, unrelenting passages built on blast beats and layered riffs give way to moments of striking calm and melody. Orchestral textures, choral arrangements, and mournful strings weave seamlessly into the sound, while anguished vocals cut through with precision.
The result is a work that balances aggression and atmosphere with rare finesse. Every shift feels deliberate, every return to stillness earned. This is atmospheric black metal at its most refined - immersive, dynamic, and emotionally resonant.
For listeners who value both weight and nuance in their black metal, Lykke is a standout release from a band at the height of their craft.
Blood Red
After the reckless barbarity of 2017’s Poisoned Blood 12-inch, Portland’s Witch Vomit dig deeper into the ground than ever before, disinterring Buried Deep In A Bottomless Grave, their second full length torrent of skullbashing wormridden horror from beyond. On this new album the band moves toward perfecting the surgical fusion of the driving Scandinavian-style violence and subconscious terror they’ve previously established, and a now gore-obsessed smashing of their American forbears. Subtlety is abolished for savage attack, imprinted on the listener’s withering mind like an impulsive stab to the throat from a crazed stranger, while all the while a dreadful sense of eerie melody rings throughout the album. With the permanent addition of second guitarist C.L., Witch Vomit achieve heightened levels of primal regression and blood-soaked madness. Buried Deep In A Bottomless Grave is a deadly addition to their growing catalog of atrocity.
