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Ruiner is the first full-length from the cult US black metal force Krieg since 2014’s Transient and is a despondent expression that captures the classic complexion that has solidified the band as a vanguard and pioneer of the genre.

Even though Ruiner is the first Krieg full-length album in nine years, they have continued to remain active leading up to its long-awaited release through various splits, collaborations and EPs. Those have all culminated in this ultimate manifestion.

Ruiner is unrepentant and remorseless black metal in the reflective manner Krieg mastermind N. Jameson has always been known for. It harnesses the notable savagery and unhinged aura present in their triarchy of classic works, Destruction Ritual (2001), The Black House (2004), and Blue Miasma (2006), while maintaining a harsh, sorrowful and cold-blooded melancholic aura.

Grift’s fourth studio album, “Dolt land” (‘Hidden land’), is a profound exploration of humankind’s bond with nature. With folkloric sounds and heartfelt lyrics, the multidisciplinary Swedish music project takes listeners on a journey into the heart of the wild.
“Dolt land” diverges from the more metal-oriented “Budet” (2020); instead, it continues the acoustic approach of the EPs “Vilsna andars boning” (2018) and “Vilsna andars utmark” (2022). Like the aforementioned two seven-inches, “Dolt land” pays homage to Kinnekulle - a mountain whose nature, legends, and traditions have served as Grift’s main source of inspiration since the project’s conception in 2011.Erik plays all the instruments himself - including acoustic guitar, melodica, glockenspiel, analogue synth, and percussion - and has also sampled nature sounds to create a truly immersive listening experience. Soothing and stirring, yet still feral and untamed; Grift’s evocative music will resonate with fans of Sangre de Muerdago, Anna von Hausswolff, and Nebelung.

Grift’s fourth studio album, “Dolt land” (‘Hidden land’), is a profound exploration of humankind’s bond with nature. With folkloric sounds and heartfelt lyrics, the multidisciplinary Swedish music project takes listeners on a journey into the heart of the wild.
“Dolt land” diverges from the more metal-oriented “Budet” (2020); instead, it continues the acoustic approach of the EPs “Vilsna andars boning” (2018) and “Vilsna andars utmark” (2022). Like the aforementioned two seven-inches, “Dolt land” pays homage to Kinnekulle - a mountain whose nature, legends, and traditions have served as Grift’s main source of inspiration since the project’s conception in 2011.Erik plays all the instruments himself - including acoustic guitar, melodica, glockenspiel, analogue synth, and percussion - and has also sampled nature sounds to create a truly immersive listening experience. Soothing and stirring, yet still feral and untamed; Grift’s evocative music will resonate with fans of Sangre de Muerdago, Anna von Hausswolff, and Nebelung.

WEREWOLF RECORDS is proud to present the long-awaited eighth album of Germany's MORRIGAN, Anwynn on grimace purple w/grey/white marbled effect

Ninth full-length from death metal institution, featuring multi-instrumentalist Daniel Corchado (ex-Incantation, ex-Cenotaph)
For fans of Cenotaph (Mexico), Blood Incantation and Nocturnus

US/Georgia Death Metal blasphemers FATHER BEFOULED return with a brand new full length!
9 hymns of pure, relentless and obscure Death Metal destruction with which the band brings its formula of darkness into new threatening territories: more abrasive, more riff driven, more brutal!
For fans of Incantation, Dead Congregation, Cruciamentum, Immolation.

Floga Records, milky clear with black and transparent red splatter vinyl, gatefold cover

Nuclear Blast è orgogliosa di annunciare la firma delle leggende del metal CAVALERA. La band ha rivelato di aver ri-registrato il primo EP “Bestial Devastation” e il primo album “Morbid Visions” dei SEPULTURA. Max Cavalera ha commentato: “Quando diventiamo più duri anno dopo anno, a volte devi tornare al punto in cui tutto è iniziato! Abbiamo ri-registrato “Bestial Devastation” e “Morbid Visions” con l’incredibile suono di OGGI, ma con il suo spirito grezzo e senza tempo. L’artwork riflette i tempi in cui stiamo vivendo in questo momento…. Apocalittico come l’inferno! Abbiamo anche due nuovi brani con riff di quei tempi, ricordati a memoria”. Iggor Cavalera afferma: “Ho sempre pensato che le registrazioni dei nostri primi lavori non rendessero giustizia al modo in cui eseguivamo le canzoni. Quindi, questo è un momento molto speciale nelle nostre vite, in cui siamo molto orgogliosi di mostrare a voi veri fan la nostra vera rappresentazione degli incredibili dischi “Bestial Devastation” e “Morbid Visions” con un’identità visiva pazzesca… divertitevi e vedetevi tutti nel pit”. “Morbid Visions” e “Bestial Devastation” sono stati ri-registrati al Platinum Underground. Gli album sono stati prodotti da Max Cavalera e Iggor Cavalera, mentre John Aquilino si è occupato dell’ingegneria. Arthur Rizk è stato responsabile del missaggio e del mastering di entrambi gli album. I CAVALERA hanno incaricato Eliran Kantor di creare l’artwork di entrambi gli album.

Nuclear Blast è orgogliosa di annunciare la firma delle leggende del metal CAVALERA. La band ha rivelato di aver ri-registrato il primo EP “Bestial Devastation” e il primo album “Morbid Visions” dei SEPULTURA. Max Cavalera ha commentato: “Quando diventiamo più duri anno dopo anno, a volte devi tornare al punto in cui tutto è iniziato! Abbiamo ri-registrato “Bestial Devastation” e “Morbid Visions” con l’incredibile suono di OGGI, ma con il suo spirito grezzo e senza tempo. L’artwork riflette i tempi in cui stiamo vivendo in questo momento…. Apocalittico come l’inferno! Abbiamo anche due nuovi brani con riff di quei tempi, ricordati a memoria”. Iggor Cavalera afferma: “Ho sempre pensato che le registrazioni dei nostri primi lavori non rendessero giustizia al modo in cui eseguivamo le canzoni. Quindi, questo è un momento molto speciale nelle nostre vite, in cui siamo molto orgogliosi di mostrare a voi veri fan la nostra vera rappresentazione degli incredibili dischi “Bestial Devastation” e “Morbid Visions” con un’identità visiva pazzesca… divertitevi e vedetevi tutti nel pit”. “Morbid Visions” e “Bestial Devastation” sono stati ri-registrati al Platinum Underground. Gli album sono stati prodotti da Max Cavalera e Iggor Cavalera, mentre John Aquilino si è occupato dell’ingegneria. Arthur Rizk è stato responsabile del missaggio e del mastering di entrambi gli album. I CAVALERA hanno incaricato Eliran Kantor di creare l’artwork di entrambi gli album.

 "Depravation" recorded in analog system. Old reel tapes in the city of lima- country: Peru, South America. Now again in CD/LP formats. After releasing the hit debut album "Demoniac Flagellations" in 2004, this group of Peruvian alcoholics evoked us to drink and write music for this insane new album. For those who never heard of us in the past, we play a mix of Black, Thrash and fast Death Metal, in the vein of old South American devils like Sarcofago Sepultura, Vulcano and American line like Morbid Angel, Death, Deicide.
Well, they can only hear a lot of wicked metallic chaos. If you're looking for a dose of energy and hate to mosh your bedroom walls when it plays underground, remember to thank me for this recommendation after listening to this album! The drummer here mercilessly thrashes throughout the entire album, the bassist/vocalist executes well both the 4-string desecration works and the throat torments, reminiscent of the era of "I.N.R.I." Wagner Antichrist himself!
The guitarist delivers not only fast and furious riffs, but also fucking aggressive solos! If you expected these Peruvian blasphemers to pity your ears by providing clean productions, you were sorely mistaken! This album has raw anal(og) production straight out of Peruvian hell! Some of the songs here are performed in their native languages, and some are sung in raw-as-life English, but I guess the lyrics you won't understand aren't much of a loss, as the (really!) strong side of this product it's merciless music! It's abundantly clear why this album got a huge vinyl release from From Beyond! With cover artwork done by Spanish master Juanjo Castellano.
A must have in your collection!

Osmose Productions is very proud to present one of the most depraved, full of insanity metal of Death & Black metal from Peru.
Re-issue, with great updated layout, with the original sound from the tape recording.

250x swamp green with heavy red splatter 12" (140g) in a black poly-lined innersleeve, gatefold, full-color printed on 350g, all assembled in a plastic overbag.

Totally classic Death Metal masterpiece that influenced a whole generation of metalheads!
Full original 1991 debut album of GRAVE with liner notes by the band and updated artwork!

Re-issue, 500x heavyweight swirl (swamp green & beer) 12" (180g) in a microthene innerbag, printed innersleeve on 220g, jacket full-color printed on 350g with UV spot lacquer, all assembled in a plastic overbag.
 

White vinyl edition including 2 page vinyl size booklet.

Recorded in winter 1995/1996 at Tuba Studio, Wrocław, Poland.

Tracks translation:
A1. When a Boulder Resembles the Shape of God's Nature
A2. A Demonic Stares of the Gods
A3. An Imaginary Defect of the Inaccessibility of Secret Gods
A4. Unusually Represses the Way to the Stars
B1. The Bitter Tears of the Nectar of Eternity
B2. I Will Depart in the Day When Sound Is Silenced
B3. Zeta Reticuli - The Ultimate Reconciliation with Creators

Double LP, orange vinyl, gatefold

180g smoke vinyl in solid cover with thick insert, black inner-sleeve with poly lining, and a designed download card for the digital album.

Not only the water’s stream nor the heavy stones surrounding Elisa on her album’s cover are hitting powerfully, but also her songs’ instrumentals develop like that. Ellereve floats between captivating, magical soundscapes made of reverbs and distortions. By mashing electronic elements, folk influences, post-rock vibes, and varied dynamics to raise intensity and tension - the German singer-songwriter unveils her heart-treading melancholy and introverted nature. A curious sound researcher,

Elisa taught herself how to produce music in 2019 to maintain artistic freedom and be more independent in songwriting. The music of Ellereve has been recorded with the precious aid of her live band, which actively complements the organic and multi-faceted songwriting of the artist. The final production was done with her good friend and producer Salomon Appiah (7Apes), with whom she already worked on her debut EP "Heart Murmurs".

The visual side of the album was captured by the experienced hands of Konstantin Alexandroff and Laura Patricia. The album will be released as a limited CD edition (incl. 4 Bonustracks), various vinyl editions, and on all digital channels.

The House is one of the many names of Vladimir Pavelka (Cult Of Fire, Death Karma).
As a small child, he watched Evil Dead on a VHS tape by accident. It left him scared, but he also started to be fascinated with death and horror films. At the age of 17, he stole his school's money and used it to buy his first guitar. It was clear that he wasn't going to play folk songs but something darker and more terrifying. At 19, he began working in a morgue where his fascination with death deepened to such an extent that it became his daily routine and a part of his life to this day. Now you can enjoy his tribute to famous horror soundtracks and films.
Let there be death and horror!

Tempel Wolf is an atmospheric black metal band from Zurich, Switzerland. First incantations of Tempel Wolf date back to the year 2016, when Urgeist and Kellermeister descended into the transcendental depths of the foaming northern sea and the raging winds of the northern hemisphere to bring their ideas to life musically. Frivolous V. Knüppelknecht joined the project to enrich the evocations with his wild flailing and thunderous stomping. The esteemed Menetekel left some ornate inscriptions in the wall of sound and contributed significantly to the completion of the mix alongside the arcane Karapan Darvish, who also handled the editing of the master. Musically, inspirations from atmospheric Icelandic and US black metal, enriched with an oddball pinch of folk, death and punk, merge into a massive yet fragile, billowing soundscape. Thematically, Tempel Wolf draws inspiration from journeys up to the far north, elements of mythology and rites of ancient cultures.

400 gr cover, insert and A2 poster.

The band's fantastic debut album for the first time ever on vinyl! Pure 90s Melodic Black Metal nostalgia! Comes with printed innersleeve, download and 4-page insert with extensive liner notes and lots of old photos. Carefully remastered for the best possible sound on vinyl by Patrick W. Engel at Temple of Disharmony. An absolute must-have for fans of the genre!!

Limited to 199 copies on sea blue/black galaxy vinyl.

The word “katechon” refers to the restraining force or entity tethering the Antichrist, and thus maintaining equipoise between existence and annihilation. Sonically and conceptually, Katechon exhibits the control, power, and restraint associated with the theological concept giving rise to the band’s name. At this point in the lineage of extreme metal, the lines between the various subgenres are nearly indistinguishably blurred. Bands emerging at this stage are almost certainly influenced by Black, Death, and Thrash metal in relatively equal parts in addition to drawing influence from genres outside the traditional spectrum of metal. This amorphous state, has led many bands to retreat into strict rehashing of formulaic retro approaches. Katechon, however, embraces the entropic merging of stylistic and aesthetic projections from the various branches of the genre and beyond. Under scrutiny since the release of its demo last year, Norway’s Katechon now presents its debut full-length recording. “Man, God, Giant” reinforces the sound presented on Katechon’s previous recordings*, but features superb production that amplifies the impact of the tracks. Each of the three songs featured on the demo is reworked and incorporated into the album. Katechon’s sound is an amalgamation of Black, Death, and Thrash metal, but played with a precision and authenticity that avoids dilution. Instead the result is frenetic and possessed, devoid of theatrics and self-indulgent virtuosity, and features highly proficient and intricate songwriting executed with precision. With philosophically oriented lyrics and adorned with an esoteric and surreal visual aesthetic, “Man, God, Giant” presents a unique vision for the future direction of metal in which an equilibrium must be maintained between rote rehashing of past trends and the indiscriminate collision of clashing styles and sounds. Katechon rests perfectly at this equilibrium point, holding at bay the forces of dissolution.

Founded by Gezol, in 1984, as a conduit for releasing Sabbat, Evil Records stood nearly alone as one of the only Japanese labels dedicated to releasing extreme metal. In the first decade of the label’s existence, there were few bands other than Sabbat with releases on Evil Records. In 1994, just as the label was hitting its stride, Gezol organized a compilation to showcase some of the prominent underground bands in Japan and project them to a larger audience. Featuring eight bands that were active at the time, including Sabbat, the “Far East Gate In inferno” compilation provides a snapshot of the mid-90s Japanese extreme metal underground. Initially, Gezol contacted some of the bands directly, but still needed more submissions to fill out the roster. He sent out a flyer requesting demo submissions and circulated it to zines, eventually selecting a few bands based solely on the quality of their demo recordings. The majority of the bands featured had short-lived careers, and the material presented here is among the only documentation of those bands’ existence. Musically, the selection runs the gamut of extreme metal, covering thrash, death, grind, and black metal. At the time, Gezol noted, there was virtually no traditional heavy metal activity in Japan, and, therefore, no heavy metal bands appear on the compilation. (Due to the dearth of Japanese traditional heavy metal acts, Gezol started Metalucifer a couple years after the release of “Far East Gate In Inferno.”) Names like Sigh and, of course, Sabbat are familiar to all at this point, but many of the other bands on this compilation scarcely recorded anything and, if not for this compilation, might have been forgotten altogether. The first side collects tracks from two death metal bands, Worm and Abyss, neither of which released anything of note beyond their contributions to this compilation. Yet both bands demonstrate unique approaches to the death metal genre, spanning from brutal to melodic to hyper-technical. At nearly ten minutes in length, the Sigh track featured on the compilation, which opens side B, is an epic sprawl of furious black metal punctuated with intermittent atmospheric passages. Monarchie Infernale pushes beyond conventional death metal, with a sloppy and frenetic sound that veers closer to grindcore. Like Sigh and Sabbat, Terror Squad has remained active through the years and produced a deep catalog. The band’s contribution to this compilation, a six-minute blitz of relentless thrash, captures Terror Squad in its primitive stage, when they only had a couple demo recordings to their name. Dark Ritual, a band that only released a few demos in the early 1990s, provides a heavier, darker death metal sound than any of the other bands on the compilation. The penultimate band featured here, Voidd, which released its debut album on Evil Records in 1993, delivers two tracks of pummeling deathrash. Finally, closing out the compilation is Sabbat, with three alternate versions of classic songs—“Black Fire,” “Satanic Rites,” and “In Satan We Trust”—that appeared on early releases. Consistent with the time period in which it came out, this compilation was originally released only on CD, and this reissue marks the first ever vinyl edition. Visually, the CD was striking, with cover art, both on the original CD version and this current DLP edition, featuring artwork by then-Sabbat guitarist Elizaveat. Like many of the most memorable compilations of that era, the bands here were striving to present their best material in the hopes of garnering more interest, as opposed to the current era where compilations tend to be repositories for bands’ least listenable output. According to Gezol, “Far East Gate In Inferno” was largely well-received and drew attention to the abundance of extreme metal activity in Japan. He originally intended to follow up with a second volume, but his dedication to Sabbat and Metalucifer left him stretched too thin to dedicate the time and resources needed to curate and release another compilation at the time. NWN! will be working with Gezol to produce a follow up compilation in the near future featuring new tracks from the current crop of Japanese extreme metal bands.

“Witchdance Rising Demo 1” Demo and “If None Will Call the Devil’s Blood… Demo 2” on one LP

Gray vinyl.

(Taken from 2004 7” re-issue, words by Timo Ketola) This history of the death metal band that is known today as Ligeia goes all the way back to the first years of the decade. Formed from friends who had a mutual admiration for Kansas City area local legends Order from Chaos and Swedish death done the right way (Treblinka, Grotesque etc…), the band began rehearsals for their first real demo which took the shape of “The Conqueror Worm” demo from the year 1993. The demo had all of the hallmarks of a demo that ten years down the line would have people still mesmerized! Unfortunately for the large part the triumphant 3 song debut of Nepenthe went largely unheard, hoarded by its true followers and cherished along with demos by Nihilist and Treblinka! “The Conqueror Worm” consisted of three songs -”The Conqueror Worm”, “Gleaming Eyes of Darkness”, and “On the Cheek of an Eternity”. This demo’s line up was short lived as Joe the vocalist was asked to leave after its release and the band continued on as a three piece… Alex Blume – bass/vocals, Patrick Brown – guitars, and Chris Overton – Drums. This line up would see the band through the coming years’ trials and tribulations. In 1994 the band signed a contract to do a 7” and mini CD for a European label, unfortunately negotiations of the deal broke down and the band was stuck with what it already recorded for the label, the “Ligeia” 7’ EP tracks. During the very turbulent year of 1995 the band laid pretty much dormant, recording the one and only official live show it did as a demo in February off 1995 (”Live at Howard’s) and parting with Alex later the same year renaming the whole project Ligeia, after the, at the time, yet unreleased EP. The “Live at Howard’s” demo is another yet unfound gem, with covers of both Tiamat and Sathanas and live versions of songs still not released, the demo is a true diamond in the rough,with a questionable sound but also with a heaviness yet unheard of on these shores! In the Winter of 1995/1996 the band recorded one final EP’s worth of material. Entitled “In Death Overshadow Thee” the public has yet to witness the truest of brutality in American death! In the Spring of 1996 the band laid things to rest, as Chris had joined the rising project Vulpecula. The band still had a plethora of unheard material so negotiations began with Eternal Darkness Records in the Spring of 1996 to release the long shelved Nepenthe “Ligeia” 7’ EP. In April of 1996 Eternal Darkness did just that! And to glue the last paragraph to this old biography: And the years rolled on, until Dauthus felt “In Death…” shouldn’t remain as a mere title in the tape trading lists, it deserves black vinyl. Chris Overton agreed, Eternal Darkness dug up the layout originals of the unreleased cassette version (as once prepared by Pat Brown), which were adapted for 7” format. With the help of the mentioned persons, and Chuck Keller who delivered the master, we can hereby enjoy the final Ligeia chapter in its rightful format.