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South-American (Argentina) edition, released by ICARUS Music. Please note, this is an officially licensed edition, not a Russian bootleg 

https://icarusmusicstore.com/

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

The band stated: ‘Flowers of Evil‘, the new studio album from ‘Ulver‘, finds the wolf pack exploring the fear and wonder of mankind’s fall from redemption. Visions similar to those of Orsini come to mind, as untamed life abounds…’

• Deluxe CD in gatefold packaging with gold print
• 16-page booklet

Ten years ago, Panopticon released Autumn Eternal – a record that captured the fleeting fire of the season and fixed it in sound. Amber-hued and windswept, it was both a lament for change and a hymn of hope for the road ahead.

The album marked the closing chapter of the trilogy begun with Kentucky (2012) and carried forward with Roads to the North (2014). Here, Austin Lunn wove black metal with threads of Americana, folk, and postrock into an immersive journey steeped in sadness, beauty, and transcendence. From the sweeping melancholy of 'A Superior Lament' to the rustic violin of Johan Becker and the somber cello of Nostarion, Autumn Eternal is a meditation on loss, memory, and the passage of time.

A decade later, Autumn Eternal still glows with the same autumnal fire – a testament to its place as one of the most honest and affecting metal albums of its time.

jewelcase

At the end of the roughest year in their history, Ulver is proud to release their thirteenth studio album, titled Liminal Animals. Liminal Animals is permeated by the smell of disaster and documents, with deep concern, a dark and troubled place in a dark and troubled time. The cover art features The Senseless Seven, a 1911 drawing by Austin Osman Spare.

Black Vinyl

After releasing the Interdimensional Extinction EP, BLOOD INCANTATION returned with a 30-minute cerebral whirlwind of powerful atmospheric death metal. The intense and otherworldly technical/ambient/funeral death metal of Starspawn leaves the listener feeling transcendentally disembodied at the end of an unknown dimension. Produced entirely in analog, the energy and magnetism of live BLOOD INCANTATION is tangibly melting through the speakers, and the songwriting, production and performance constellations have all fully aligned.

Reissue Grimace Purple Vinyl (2000 copies)
Contains insert with lyrics. Some copies arrived with a signed postcard.

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.

Transparent Sea Blue

In the spring of 2019, a new rock band made up of four otherwise ordinary Okies emerged seemingly out of nowhere, swiftly turning heads with a grotesque new take on noise rock—one fueled by the existential anguish that has defined the 21st century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression. That momentum culminated in the release of its landmark 2022 debut album, God’s Country, and its expansive 2024 follow-up, Cool World.

Highlighter Yellow, Indie Exclusive

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.

Oklahoma’s Chat Pile have had an exciting 2022; they released their album God’s Country, toured the midwest and east coast in support of the album, announced their appearance at Roadburn Festival 2023, and while the band is working on LP2, they’re revealing details for their score for the indie film Tenkiller. While not a proper full-length album, the Tenkiller score was written and recorded in the winter of 2020, and it waxes and wanes from the signature Chat Pile sound but also ventures into new ones— including arena country music. The band comments, “The music we made for Tenkiller is quite a bit different than what you may come to expect from us. We were given the freedom to really experiment and explore territories that we’ve never done before.” They continue, “It’s not going to be for everyone, but we hope some of you connect with what we set out to do.” “Chat Pile bring a sense of dirt and squalor to the table.” —The FADER “Oklahoma City’s Chat Pile are the perfect people to expose the dark, seedy underbelly of American life.” —Paste Magazine “Cleansingly punishing.” —Stereogum “Harrowing.” —Pitchfork

Cobalt Blue Vinyl

A full-length collaboration between Oklahoma noise-rock legends Chat Pile and Texas-born enigmatic guitarist/composer Hayden Pedigo.

Captures the tragic beauty and desolation of the American heartland through cinematic, post-apocalyptic soundscapes.

Follows Hayden Pedigo’s breakout success with The Happiest Times I Ever Ignored (Mexican Summer) and earned widespread acclaim and established him as one of modern guitar’s most distinctive voices.

Gatefold vinyl release featuring artwork by Malcolm Byers