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The highly anticipated 3rd full-length by this U.S. band. Since the dawn of the Paleolithic age, mankind has recorded spectacular scenes of death, whether in scenes of cannibal feasts crudely etched on cave walls, massacres immortalized in glyphs adorning monuments of the ancient kingdoms, or in chance recordings of grisly accidents, compiled and sold on home video to those with a thirst for that which is denied to them by our "civilized" society. Spawned in the contaminated sewers of Santa Cruz, California in 2013, Dipygus began as a four-piece mutation performing rudimentary styles of Death Metal, a sonic evolution of the tradition continued from the time of Cro-Magnons. A 2015 demo recording, the earliest surviving documentation of the band, reveled in unexplained and bizarre events, including peculiar methods of whale carcass disposal and otherworldly monsters from on and off the silver-screen. After a lineup change in 2016, Dipygus recorded the "Long Pig Feast" EP, which featured terrifying rites, ritual mutilations and ominous sightings of a Mesozoic relic in the heart of the Congo. Their debut album, "Deathooze", slowly de-composed in the murky shallows of powerplant runoff in the Monterey Bay, ultimately being recorded in 2018. Though quickly banned in over 16 countries, Dipygus´ debut album attracted immediate attention among slime fetishists and similarly deviant circles. Placed appropriately alongside the Fiji mermaids and other grotesque artefacts found in curio cabinets of modern-day antiquarians, "Deathooze" continued the band´s exploration of inexplicable incidents, mysterious beasts and shocking carnage, including genuine audio recovered from a fatal attack at the hands of an ape gone mad! Following their debut album, Dipygus was conjoined with an additional member, and began a new exploration in search of secrets hidden in the jungles of lost continents, where life is cheap. After successful initiation into the shadowy world of black-market cuisine, an agreement was reached with Memento Mori for the release of the band´s second full-length, "Bushmeat". Showcasing more exotic and repulsive themes of the supernatural and taboo, "Bushmeat" presented an uncensored and unrelenting spectacle, with each element of the previous work irresponsibly taken to a further extreme. A prime cut of raw and grueling terror, it was fit for consumption by headhunters, body-snatchers, toad-venom junkies, cargo cultists, aquatic ape theorists, disaster tourists, carriers of tropical disease, voodoo practitioners and orgone revivalists only. All others having since been warned, Dipygus return to time primordial with an elegantly self-titled third album. Suitably graced with evocative cover art courtesy of Hayden Hall, Dipygus thrusts the helpless listener into a psychedelic jungle of grisly delights. At 10 songs in 41 minutes, the quartet qualify their most lengthy recording yet with maximum delirium and characteristically crushing execution. Everything here feels massive -tone, feel, supernatural aura- yet somehow simultaneously exhibits a spacious quality that´s unsettling to the Nth degree. Perhaps that´s due to Dipygus´ increasingly twisted songwriting, neither "tech" nor improvisatory, but a certain "elevated caveman" aspect that pushes primitivism toward mind-bending ends. Fleeting-yet-haunting leads also play a part in Dipygus´ menagerie of malodorousness, exacerbating the psychotic reactions in their humid, hellish jungle, and even touches of way-back synths get mangled within, melting into the fuckton heaviness of Dipygus´ riffing. Ever wanna hear the most tripped-out moments of Autopsy, Impetigo and especially Nuclear Death taken to their ILLogicial conclusion? Then enter Dipygus´ self-titled album... if you dare!

Slipcase

2016 reissue of classic Dodheimsgard album! Digipack CD and vinyl!
 

With the new album "They Often See Dreams About the Spring" DRUDKH's traditional black metal sweeps in like a cold wind from the East. Timeless frozen melodies adorn an uncompromising attack, creating yet another epic work from one of the genre's most important bands.
 

The debüt Album of the amazing symphonic Black Metal horde!

Official reissue in limited edition six panel Digipak Cd of the legendary Ep originally released in 1997 with restored original cover artwork and unreleased photos.

A masterpiece made of epic songs, furious harsh vocals, tight drumming and a strong romanticism which built the very essence of 90's Black Metal.

In the secluded wilderness of northeastern Finland, a solitary journey has taken shape. Sielue, the latest endeavour of multi-instrumentalist Janne Posti (Häxkapell, Sons of Crom), marks a profound return to his musical roots, as he steps beyond his metal and classical foundations to explore the realm of dark acoustic folk.

 “Askel tyhjyyteen” (‘A Step Into Emptiness’) is a collection of diverse songs woven together by themes of life and death. Drawing on his classical training in piano, vocals, composition, and arrangement, Janne crafts intricate melodies where acoustic guitar and piano take centre stage.

The album captures the desolation and solitude of the wilderness surrounding Posti’s family cabin, embodying autumn winds, dense fog, and the haunting resonance of a freezing lake – the ‘singing ice’ recorded shortly after his initial writing session on All Hallow’s Eve in 2022. Song structures range from traditional verse-chorus formats to linear compositions, reflecting Janne’s eclectic musical background across metal, rock, pop, jazz, folk, and classical genres.

“Askel tyhjyyteen” is more than an album; it is a personal testament and a spiritual journey. It invites listeners to embrace the longing for another plane of existence and the beauty found in the acceptance of mortality. In stepping into emptiness, Sielue embarks on a journey that doesn’t end at the grave but begins there – into the winds of the cosmos, guided by swans through a portal to a place of peace and fulfilment

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

2nd pressing, limited to 500 copies.

Comes with a 12-page 12” booklet incl. new liner-notes by Olivier ‘Zoltar’ Badin, a double sided A2 poster and a download-card.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

For something to be “ecstatic,” the feelings and emotions it evokes must transcend what one tends to experience most regularly in their lives. Ecstatic joy isn’t just happiness; it’s a feeling of jubilation which impacts one emotionally and in a metaphysical, arguably spiritual sense too. Although it has long been associated with connotations of the dark and macabre, extreme music has the ability to be a powerful mode of expression for these feelings of absolute bliss, overwhelming love, and awe-inspiring sublimity. Extreme emotions no less and those which black metal quartet Agriculture evokes with its ecstatic subversion of the subgenre’s tropes.

What was initially a meeting and subsequent series of jam sessions between Kern Haug and Daniel Meyer, two musicians in the Los Angeles underground noise scene, would eventually manifest as a shared vision to portray the sublimity of the human experience through the vehicle of heavy music. Following the additions of veteran guitarist Richard Chowenhill and bassist / vocalist Leah Levinson to the band’s lineup, this idea would crystalize into the “ecstatic black metal” backbone of Agriculture’s music, first heard on the band’s 2022 debut EP, The Circle Chant.

With Agriculture’s self-titled record and first full-length LP, it’s abundantly clear that the band’s use of heavy music to showcase the most resplendent emotions and moments of the human experience has a far deeper meaning. Woven between the flurries of soaring tremolo picking, crescendoing guitar harmonies, celebratory screamed vocals, thoughtful improvisation, and meditative atmospheric passages is the record’s mission statement to experience the wonders and joys of both the esoteric and physical world.