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After the acclaimed debut, THE NEGATIVE BIAS are ready to introduce the listeners to a deeper understanding of their unique musical vision, one that transcends the common idea of music as a mere sum of instruments dealing with melodies and patterns.
“Narcissus” has a visionary and majestic inspiration that prominently flows though the strings and the synth lines.
The evocative force of this new chapter is an exciting merging of 90’s Black Metal echoes and a genuine atmospheric attitude dealing with the dark side of the cosmos, where extreme vibrations are channeled into a vast world of emotions.
Someone may recall Limbonic Art’s early works, but the Wagnerian orchestral symbiosis takes distance from this immanent parallelism by crossing the genres’ borders and propitiating the co-existence of ambient and soundtrack-inspired layers.
Staying within the meaning of epic like a state of mind, opposed to the traditional understanding of this term, the time pattern moves towards a dimension where the fear to trespass the human point of view is a key factor.
Listening to “Narcissus” is like closing your eyes and mind-traveling through new forms of existence and the cruel perceptions that no human philosophy may affect.

Hailing from Chile, Lascar is back with their sophomore release, “Saudade”, an album that moves exactly along the lines of its illustrious predecessor (“Absence”, 2016), underlining once again the band’s naturalistic approach and marking a perfect syncretism of those feelings of loss, fragility and desperation that have always been LASCAR’s trademark.
Their emotional post-black metal offers a unique interpretation of the apparent conflict on the naturalistic experience. The “Saudade” implies a sense of abandon and a nostalgic mourning manifested within an artistic environment.
 

4 panel digipak edition.

The sole definition of Depressive Black Metal doesn't fit anymore to Falaise.
With their second effort the italian duo is ready to further cross the boundries of this genre to involve the expanding vision of post-rock and indie tunes.
This defragmented vanishing flux of emotions is well shifted on the cover, the mind and the feelings are like swallowed into the infinity of cosmos.
A tribute to Amesoeurs is performed with the cover song "Les Ruches Malades" providing a possible chance of comparision. If "As Time Goes Bye" was already an impressive and coherent collection of emotionally heart wrenching songs maturity has been achieved with "My Endless Immensity", where the different chapters seems like part of a bigger scenario.
 

On the ninth full-length with the tell-tale title of "Subject to Change", XASTHUR took a musical leap of faith: Mastermind, multi-instrumentalist, and singer Scott Conner abandoned black metal as a form of musical expression for the time being, and turned to something stylistically rather comparable to acid folk and neofolk instead. Keeping the minimalistic approach of his previous albums, but embarking on a long journey through the dark underbelly of the American dream, Conner created his own brand of dark Americana. XASTHUR were originally conceived by Scott Conner in California, USA in the year 1995. The project started out in the vein of bleak black metal in the tradition of the Nordic second wave. Over the course of nine albums and a host of split-singles, EPs, and occasional demos, XASTHUR's individual, particularly depressive style became highly regarded within the extreme genre. In 2010, Scott announced the end of XASTHUR and returned with an acoustic dark folk project under the banner of NOCTURNAL POISONING. In 2015, the American artist returned to the name XASTHUR, but insisted that his black metal days were over. On his so far latest album, "Inevitably Dark", XASTHUR have partly lifted the self-imposed ban on black metal, simply because Conner simply did like he felt.

“Avvik” translates to anomaly or deviation. And even though Taake have been recognized as an important act within the Norwegian Black Metal scene for decades, they have always stood on the outside of main currents of black metal, a scene once founded by deviants and outcasts. In this context, “Avvik” also refers to this particular collection of songs, as the album compiles tracks which never really fitted in to any of the Taake releases, and hence ended up on three split-10” with Whoredom Rife, Deathcult and Helheim, released on different labels. “Avvik” collects the Taake tracks from the three split-10” releases for a limited digipak cd release. All tracks have been remixed and remastered for a digital release, and some of the remixes have some surprising guest appearances. Exclusively for this release, Dr Mikannibal of Sigh did Taake the honour of adding her saxophone to a slightly longer version of the Sisters of Mercy cover “Heartland”. Also, live guitarist Gjermund have done a very special acoustic version of the classic track “Nattestid ser Porten vid I”, which is exclusive for this release. “Avvik” closes one chapter for Taake and opens for a new one.

After releasing the debut album from his Serment project earlier this year, Moribond is back with something completely different, namely his ambient project Oublieth. Falling somewhere in-between what some would call dungeon synth and the much more cinematographic scopes of artists like Tangerine Dream, Vangelis and Klaus Schulz, Oublieth draws its inspiration in classic 70’s and 80’s fantasy themes, as evidenced by a recording done entirely with analog synthesizers as well as the stunning cover art by renowned Dungeons and Dragons and Ravenloft artist Stephen Fabian. This enthralling ambient journey is strictly limited to 500 copies…

Since 2015, Pénitence Onirique have been pursuing the quest to transcribe as faithfully as possible everything that gravitates in their mind. Each album has its own theme, that takes the listener through an epic and introspective fresco. Today, the line-up is as solid on studio as it is on stage, with the desire to develop its universe without taking the easy way out, and to reshuffle the creative deck with each new release. Ideas and efforts have become a common force in "Nature Morte", which invites you to lose yourself in the twists and turns of Men's desires. 

Originally released in 1996, this is the first pure Black Metal work of the band. Finally reissued in a limited edition of 434 copies (jewel case cd with 8 booklet pages).

First official Cd release for this absolute masterpiece of Swedish Melodic Black Metal. “Härskare Över Stjärnorna Och Mina Drömmar”, the only work in Vinterkrig's discography, was recorded at Peter Tägtgren’s The Abyss Studio and mixed by Mikael Hedlund back in 1997. Catchy melodies and gloomy atmospheres carved in ice to keep alive the pure essence of the 90s. Featuring Martin Lopez on drums and Martin Mendenz on guitars (Opeth). Available in limited edition Digipak Cd of 300 copies hand-numbered.

For the first time ever, we present the official reissue of the legendary full-length from 1999 full-length.

Thy Primordial are probably one of the best Melodic Black Metal bands ever came out from Sweden.

Over 50 minutes of pure majestic Black Metal, a little gem to own in everyone’s collection!

For the first time ever, we present the official reissue of the legendary full-length from 1999 full-length.

Thy Primordial are probably one of the best Melodic Black Metal bands ever came out from Sweden.

Over 50 minutes of pure majestic Black Metal, a little gem to own in everyone’s collection!

Reissue of the band's brilliant second album from 1998 with original artwork & sound, and layout only adjusted to the 8-panel digipack format, under exclusive license from Napalm Records.

"Provenance of Cruelty" is the second album of Mactätus, originally released by Napalm Records in late 1998. At the time of its release the hype for Scandinavian Black Metal in general and Symphonic and Melodic Black Metal in particular was already declining, following milestones such as Emperor's "In the Nightside Eclipse", Dimmu Borgir's "Stormblåst", Mörk Gryning's "Tusen år har gått", Gehenna's "Second Spell" or Limbonic Art's "Moon in the Scorpio". The result was that at the time of their release in late 1998 equally brilliant Symphonic Black Metal albums such as Odium's "The Sad Realm of the Stars" or Mactätus' "Provenance of Cruelty" were not as appreciated by a majority of fans as the earlier classics before them and remained a bit obscure and underrated for quite some time. While that changed later for Odium's debut album when it gained the underground cult status it deserves, "Provenance of Cruelty" somewhat suffered from the added drawback of being released by a label that at the time was already more focused on Gothic Metal, and also not necessarily one of the "cult" labels of the time. This, however, is definitely an album that belongs in every Symphonic or Melodic Black Metal collection and fans of the aforementioned albums should definitely check it out if they don't know it yet!