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digipak reissue
After the big success of “Futile” in 1999, Rapture released the sophomore “Songs For The Withering”, following the path traced two years.
Austin Lunn from Panopticon would say on the album: “This album is for me, the joy and comfort in melancholy... The bittersweet sound track to autumn, the echoes of rainy days... Nostalgic yet relevant but above all, an honest and relatable glimpse into human sorrow. It is a warm but wet blanket, reminding me of worse days and how I fucking made it through: One foot in front of the other, consoled by the honest and exposing lyrics, powerful melodies and crushing drums of Rapture’s unsung masterpiece. Before the last breath, inhaling. Before the final death, to exhale and never let hope die that I would one day conquer the great distance.”
Giving a follow up to a masterpiece like Black shining leatherà was hard, but C.F. confirms their unique class in creating a waird opus like this, true Black Metal.
Norrsinnt’s returns with a haunting blend of dark folk and cinematic atmosphere in the second album ”Djupt inni skoga”. An album that is an invitation to step off the path, deep into the forest, and listen to the echoes that live between silence and sound. It is the esoteric solo project of Mathias Gyllengahm (Utmarken), turning the focus inward into solitude and reflection. It is a darker, more atmospheric journey into solitude, nature, and the human spirit.
”Djupt inni skoga” (“Deep Within the Forest”) presents a soundscape that is equal parts dark folk, ambient, and atmospheric metal. Clean vocals and distorted guitars merge with the mournful tones of the nyckelharpa, while instrumental passages drift into cinematic soundworlds reminiscent of forgotten, untamed landscapes.
Lyrically and sonically, the album is steeped in nature mysticism and existential reflection: a meditation shaped by a long and deeply personal creative process, since it was recorded over a period of 7 years. Some tracks stand out for their collaborative spirit, such as “Skogsmakt”, featuring guest contributions from members of Fejd (Sweden), Myrkgrav (Norway), and Byrdi (Norway) - voices and instruments that add new dimensions to Norrsinnt’s already expansive atmosphere.
Linnea Hjertén’s second album, “Steg för steg” (‘Step by Step’), offers both continuation and departure. It extends the ritual ambient and folk foundations of “Nio systrar” while opening new paths through lyrics and expanded instrumentation. Each track feels like a threshold: a step deeper into vulnerability, a step further into the unknown.
Traditional instruments anchor the record without confining it. Nyckelharpa and moraharpa – especially in minor modes and long, sighing notes – draw out a distinctly Swedish melancholy. Hjertén favours old tools in new contexts: keeping traditions alive, connecting to those who came before, and working with what the land provides.
Layers of voice carry the emotional weight; arrangements bloom from drones, framedrum pulse, and the hush between tones. Hjertén also draws on kulning, the ancient Nordic herding call, which rises briefly in pieces such as “Blodmåne” and “Alltet är intet”, reshaped through her own expression.
She records and mixes everything herself, ensuring an intimacy that seeps through every tone. Minimal means, maximal presence. Songs carried by breath and purpose rather than studio sheen. The result is folk-rooted Nordic ambient that places essence over ornament: step by step, surrender by surrender.
Cruz Del Sur, black vinyl, A2 poster, 8-page booklet, ltd 500
ASTAROTH was formed in Rome, Italy.
During its first two years the band played gigs and recorded their first demo tape, which lead to numerous interviews by Italian radio stations, including the Official Italian Network, RAI.
The following year (1985), Astaroth entered into a contractual agreement with the independent Dutch label, RAVE ON Records. Four songs were recorded at Stone Sound Studio, and one song was included in the “Rave On Hits Hard” compilation which also featured Mercyful Fate. Two months later the EP “The Long Loud Silence” was released.
Following the release of “The Long Loud Silence” a promotional tour began through Italy, Switzerland, Holland and Belgium; the European audience was shocked by the band’s unique and powerful style, as well as the tour’s concept. The band’s show is based on the “Ancient Roman” image, electrified to present day times. It features columns, temples and many changes of costume and atmosphere.
Many well-known magazines such as Kerrang” (England), Metal Hammer (Germany), Burnn (Japan), Enfer (France), Aardshok (Holland), Aardshok American (USA), Rockerilla, HM, Metal Shock, Ciao 2001, Tuttifrutti (Italy) gave Astaroth good reviews, and dubbed the band’s style of music “Centurion Metal”.
The EP “The Long Loud Silence” climbed to the top 20 charts of radio stations worldwide. Unfortunately the support of an independent label was too weak to boost the records up the selling charts. Astaroth’s own strong organization made some advancements however, twice performing on Italian television in programs such as “Discoring”, a kind of “Solid Gold” episode seen by million views, as well as opening for the English band Motorhead.
While Italy is famous in the word for pizza, spaghetti and the Coliseum, it is not so famous for its rock music industry. With no real metal market existing, Italian labels are reluctant to produce rock bands. For these reasons, Astaroth left Rave On Records, heading directly to Los Angeles, California.
Along with their earth-shattering sound, Astaroth has brought with them their Roman culture, their intense emotions, and the stamina of the gladiators hoping to find some “heavy” marble to build their new temples!
