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In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale. On invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound. The band was nearing the end of a long touring year around the Life Metal and Pyroclast albums. SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metal album conceptually and emotionally, but actualised and evolved into vast, open and bright hypersaturated arrangements. Particularly the pieces the band chose to perform on this recording: Troubled Air and Pyroclasts. The former enriched into a total aspect of the band's ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))). The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))). Anna Von Hausswolf and her band had accompanied SUNN O))) on the UK leg, and Anna joined SUNN O))) in the studio on synths and with her tremendous voice on the Pyroclasts pieces.

Two years after the release of their last album “Wolves Among The Ashes”, Svart Crown comes
back with a sixth and new opus. The EP, called “Les Terres Brûlées” will be released as a coproduction
between the band’s label Nova Lux Production and Les Acteurs de l’Ombre Productions.
Just like a return to the basics, the five tracks that compose this EP form up a sulfuric halo between
rage and transcendance. Recorded in several Southern France places and once again mixed by
Francis Caste at Saint-Marthe studio, the organic, made for live production gives a suffocating
warmth to the album’s five pieces. Like a kind of epitaph, “Les Terres Brûlées” is a true abstract of
the band’s 18 years of experience.
The first track to be revealed, “Digitalis Purpurea” is an astral journey through the
inconscience limbo. A chaotic vision of its own death warrant, between dream and reality,
where fire, opiates and sulfur smell coexist.

Hailing from Italy, TALV started in early 2012 under the name of Trees In The Fog. Their purpose has always been to merge dissonant and melancholic black metal with a touch of ambient music.
Like painting a dismal scenario, TALV’s new effort is drowned into the darkest north-Italian naturalistic black metal inspiration. The cold and freezing guitar sound reminds of Tenebrae in Perpetuum and Beatrik’s classics, while the prevailing desperate feelings position the band within the groove of depressive black metal.
What makes of Talv a personal and unique project is the wise equilibrium between a hateful, cold hunger and a fragile background soundscape. The ColdWorld cover further emphasizes the strong visionary ambient perspective and inspiration of this raising underground project.
 

"VIRTUS" is the second part of the "Neofolk Finland" trilogy that "PATRIA" started in 2012. This time, after the gloomy and bog-stenched "NOITANAAMA", TERVAHÄÄT takes a leap towards more traditional neofolk... but quickly sidesteps to krautish industrial psychedelia and takes a cover in the trenches of futurism or even visions of 100 years old modernism.

Atmospheric black metal from Finland

Darkness is falling. A cold wind blows from the snow-covered Carpathians, making the windows rattle and the corners of the house creak. Something is coming, eyes flashing red in the night and its footprints filled with grave dirt. What nocturnal terror is this? Why, it’s the arrival of the long-awaited third album by The Coffinshakers, folks.

While most bands quickly lose the spark, The Coffinshakers have stayed relevant – eternal like the undead. Though humor is their hallmark, there is also poignancy and something genuinely spine-tingling in their rugged, melancholy ballads. And this new offering shows them at the height of their baleful, campy power. They truly are a band that ages like fine wine – although vampires, of course, never drink… wine.

Much will be familiar to dedicated fans. Rob’s trademark malevolent chuckles still reverberate with sardonic glee, the deep rumble of his voice continuing to send all yellow-bellies hiding behind the barn. At the same time, his vocals have gained in both power and subtleness. The same goes for the guitar, bass, and drum work, now incorporating a broader array of classic Americana influences. These unholy badmen have drunk the blood straight from the neck of the authentic country, bluegrass, folk and other rootsy music of inbred US backwaters – and it has made their fangs sharper than ever.

And though The Coffinshakers still ride forth with tongue firmly planted in cheek, there is a new apocalyptic urgency to their third offering. From the marching drums of the desolate “Graves, Release Your Dead” to the echoing vocals of “River of Souls” and the cathartic cataclysm of “Down in Flames”, it all forebodes the imminent end of the whole dirty enchilada of existence. The band’s flippancy comes with a genuinely unsettling kernel of darkness – and black humor is always the most satisfying. Vampires may not cry, but we all know they laugh wickedly as they rise from the bone orchard.

Regular edition in jewel case.

"Saga" is the band's 4th album and by now I think we can dispense with comparisons. The Flight Of Sleipnir have become their own reference - a fact to which a large and continuously growing fan base attests. On "Saga" David & Clay have further refined what has become their very own style, a totally unique combination of Viking and Doom Metal with progessive elements, which they developed and improved with every release. In this respect, the new album is a consequent continuation of "Essence Of Nine", with its focus on acoustic parts, melodic guitar leads and clean vocals on the one hand, and raw Viking/Black Metal outbursts on the other, everything merged into a seamless whole. In short, an exciting and never boring or repetitive journey through a rough northern landscape, interspersed with relaxed nights around the campfire.

The Haunting Green are Cristiano Perin (vocals, guitars, synthesizers) and Chantal Fresco (drums and percussions). Formed in 2012 and based on North-East Italy, their music is constantly going in the direction of a coexistence within the aggressive vibes of extreme metal with ambient-drone and dark electronic music.

After a debut EP and collaborative split album, “Natural Extinctions”is their first full-length album which explores the inability of human beings to preserve their innocence and the bond with nature during their existence. The focus on “Natural Extinctions” is to merge extreme metal with the suggestive language of drone / ambient and ritual music, highlighting in some ways the "percussive" side of their music. This isn't an ordinary concept album but, actually, there is a hidden thread connecting the 7 tracks, relating the inevitable destiny of every human being to inhibit, suppress and lose, along his life, some of the most pure and atavistic aspects of their own soul, to adapt and live with the hostile environment that surrounds him. Adaptability on the one hand strengthens and leads to move forward, but, on the other hand, corrupts and makes us lose the most spiritual and pure side of us: the most precious.

Since 2012 in the roster of I, Voidhanger Records, Ohio's THE WAKEDEAD GATHERING are back with their fourth full-length work, "Parallaxiom," a concept album that confirms their qualities, their stylistic code and their skill of great horror storytellers. Andrew Lampe's solo project has always been a harbinger of classic cavernous death metal sounds applied to a brilliant songwriting, rich in black metal and doom metal nuances.

With "Parallaxiom" The Wakeded Gathering tell a dark sci-fi story, set in a gray and dystopian future in which genetic tests allow an authoritarian state to determine whether an unborn person will commit crimes as an adult. "Those deemed most unsuitable for society are immediately executed or jailed for further study," Andrew Lampe explains; "however, this is not a perfect science. Several individuals flee and later turn their attention to the destruction of this unnatural state."

 Limited to 200 copies.
• Deluxe 4-Panel Digipak, 4-page booklet with lyrics.

THECODONTION and VESSEL OF INIQUITY join forces in a conceptual split release to tell us about the Permian-Triassic extinction event (commonly known as "The Great Dying"), and life emerging anew afterwards.. THECODONTION's side explores two different creatures which lived after that catastrophic occurrence, thus during the Triassic period: Thecodontosarus antiquus was a an ancestral relative to sauropods; Procompsognathus triassicus was a small bipedal carnivorous theropod. VESSEL OF INIQUITY's side is sonically destructive, yet it features an evocative and almost poetic description of the inevitable cataclysm that occurred, putting an end to the Permian period and paving the way for new lifeforms during the Triassic. VESSEL OF INIQUITY's sole member A. White is a master in audial annihilation and ultra-violence in the form of furious drumming and non-stop slab of harsh noise, behind which lies a vortex of sprawling riffs. After two masterpieces such as "Vessel of Iniquity" and "Void of Infinite Horror", this entity is certainly not holding back regarding musical extremity.