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Shadows Call comprises a total of 37 minutes and two epic-length tracks, one each from Signal Rex‘s most striking discoveries in recent years, Nathr and Ordo Cultum Serpentis. Nathr are up first with “The Burial,” a nearly-20-minute track that duly lives up its namesake. Plaintive and placid, yet unsettlingly so, for more than half its massive duration, “The Burial” mesmerizes with a strangely beautiful aspect before exploding into a slo-mo crush akin to the cosmos crumbling away, deceptively peaceful in its resigned oblivion. Ordo Cultum Serpentis are second, with the nearly-17-minute “Filii Serpentis Nigri.” Much like their two celebrated EPs last year, the duo sonically approximate a massive boulder ritualistically opening into an impossibly vast tomb. But, like their split-mates, halfway through the track, they surprise with a jarring-yet-somehow-seamless transition into ritualistic blasting, sealing that same tomb with utter finality.

Simply put, blackened doom doesn’t get much better than this. And Nathr and Ordo Cultum Serpentis together a create a complementary work rather than a split “album” full of throwaway tracks. Feel their Shadows Crawl!

140g vinyl, with double sided A4 insert, black poly line inner housed on 320g jackets, inside flooded in black, and PVC sleeve.

- Limited grey marble vinyl

Long due split release.

Degredo represents the dark side of the rural autumn nights, while Cantos de Muerte is the silver snow of long winter nights that precede the dark and sad autumn human feelings.

Formed in 2019 by black/death metal activists of the Spanish underground, AWAKETH is an entity formed against nowadays black metal's relativism and open-minded "scene." Inspired by the activism of the '90s Nordic tradition, the Teutonic black metal fury, and the corrupted Les Légions Noires, AWAKETH open wounds again, going to the core, without artifice. Just black metal in its purest and dirtiest integrity, Luziferian activism through distorted sonority against black metal's democratization: NOT EVERYTHING GOES.

Compiling both of the band's demos to date plus two extra tracks, Awaketh indeed awakens atavistic energies; AWAKETH simply harnesses them, for they were always there. All songs here were recorded through a primitive process somewhere in the Galizian forests. Both demos were previously released on tape format by In Pulverem Mortis and Tour de Garde, respectively, during the cursed year of 2020. Adding the tracks "Nocturnal Lust" and "Burning Golgotha" recorded exclusively for this vinyl edition, AWAKETH re-opens those wounds when life couldn't get any worse.

All songs recorded through a primitive process somewhere in the Galizian forests.

Previously released in tape format by In Pulverem Mortis and Tour de Garde during 2020.

Nocturnal Lust and Burning Golgotha exclusively recorded for this vinyl edition, all other tracks were carefully remastered for this edition.

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?

Hailing from the Basque country of Spain, the wretched entity called SEPULCHRAL crawled out of the coffin in 2016. Main composer, Dusk, gathered some ghouls to deliver an unrelentless form of putrid metal of death in the form of 2 demos and one EP. Now SEPULCHRAL arise from the tomb with their first full-length, packed with catchy, putrid, crusty death metal that will make you jump from your coffin!

4-panel digipack printed on 300 gsm carton w/16 page booklet printed on 135gsm art paper.

2021 reissue on Soulseller Records

With "Disguised Masters" released in 1999, ARCTURUS delivered a striking and for some even provocative afterthought to their previous works. The WHEN intro 'White Tie Black Noise' was followed by the new track 'Deception Genesis' and a re-recording of the classic 'Du Nordavind' before the Norwegians launched into an adventurous re-visiting of six "La Masquerade Infernale" tracks that got unapologetically treated with EBM, trip-hop, rap, ambient, and other musical means. Drawing up fresh angles onto their music, the re-imagined songs revealed the wide open mind of ARCTURUS.
 

Having grown out of the Norwegian Death Metal band MORTEM, ARCTURUS emerged under the irresistible influence of Oslo's creatively bursting and fast rising underground black metal scene officially with the two-track 7" "My Angel" (1991). With then-guitarist and formidable keyboard player Sverd and MAYHEM drum-beast Hellhammer at its core, vocals were first contributed by Marius Vold, who also sang on the legendary THORNS demo "The Thule Tape". While still very much influenced by death metal, the addition of doom-laden slowness and eerie keyboards already pointed into a far blacker cosmos. On the four tracks of the original 1994 "Constellation" EP, ULVER's Garm had taken over the vocal duties and Samoth from EMPEROR had joined the band on guitar. Yet, ARCTURUS already went off the (in reality quite wide-ranged) black metal norms mainly due to Sverd's keyboard arrangements that were pre-shadowing the trademark theatrical or circus-like style the Norwegians adopted on their following albums.