Back in stock

Kommandant took their first steps into the Black Metal playground whilst the western world was retreating  into a deep slumber. We can now either decide to face reality; a call to arms, or remain in such a state of impotence.

Kommandant brings forth the inferno; an enlightenment and awareness that is both clandestine, and apparent simultaneously . Ancient phantograms, echoing both the struggle of the past and the actuality of the present, make their fog of war pervasive to all the stagnant relics that hinder advancement. Audibly , this is by far the most staggering version of the Kommandant weaponry. Blunt force trauma, striking hard and fast, for maximum effect.

The soldiers marching in the fog are obedient vessels, actuated by a primordial magnetic impulse. While listening to “Titan hammer” it can immediately be perceived as an imminent  tragedy , a mere lingering spectre, devouring any remaining glimmer or aspirations. Once fully emerging from this acrid slurry, the  miasma will succeed in trapping the listener within the entrails of atavistic phantoms.

References can be made somehow to nefarious acts like War, Marduk & Zyklon-B. Within  a scene that is severely  overpolluted by  disingenuous bedroom projects , Kommandant takes a step to the front with mature songwriting and a professional studio recording shaped in Belle City Sound Company studio, located in Racine, WI.

The artwork and layout is perfectly emphasized once again with the creative genius of artist Francesco Gemelli ( Abigor, Katatonia. Kvist, Darkspace, Spectral Lore ..)

“Titan Hammer”  will march and progress deeper and deeper into the battlefield of humanity , like a dagger to the heart of the world.

After a debut album that raised the attention of a nowadays crowded underground, the ambitious project from Italy now evokes their occult
essence and makes it flow into their highly anticipated comeback.

Moving from the European inspired Black Metal but inoculating on the same their peculiar Indo-Sumerian nostalgia, like an ancient cry in a
trembling scenario of shadows, Digir Gidim takes their visual and audial dimension to a more mature and intrinsic merging.

Supported by the usual majestic artwork created by Luciana Nedelea (Mare Cognitum, Fuath, Ghost Bath…), the music flows and takes us to our
most insane and struggling times, as primordial energies make the earth tremble.

Words as atmospheric and occult can in some way provide some anchors to the media but cannot fully describe the treasure trove of different
feelings and evocative emotions that create this sublime conflict.

Making some comparisons to the debut, Digir Gidim’s threatening, unsystematic and mostly disharmonic ritual absorbs huge waves of sadness and
bursting majesty, like perfectly represented on the album cover, opening a wider horizon of emotions and journeys through cold lands of non-existence.

It’s a voyage with no return, where  chosen souls reach the Passage to Divination, a path through the silence of oceans and deserts, detaching themselves from humanity,
assuming transparency and the celestial shimmering moving to the ultimate sacrifice, surrendering to the merciless embrace of the Supreme Regulator

(metalitalia.com) "A differenza di altri misteriosi figuri che oggi popolano le tenebre dell’underground black/death, Lalartu continua a conciliare la suddetta immagine incappucciata con un suono che, per quanto complesso, stratificato e ultraterreno, si guarda bene dallo scadere in forme onanistiche di eccentricità e sperimentazione (basti pensare alla recente prova degli Ævangelist). Musica che si è nutrita abbondantemente delle peggiori nefandezze del catalogo Iron Bonehead e Norma Evangelium Diaboli da un lato e di certi titani degli anni Novanta dall’altro, per un risultato complessivo che, sul filo di una gestualità rituale e contraddittoria, sembra volerci traghettare oltre il nostro spazio-tempo.
Così com’era stato per l’esordio “Kadingir”, anche “ITIMA” si configura quindi come un viaggio, un’opera da assimilare nelle giuste condizioni per riuscire a carpirne il linguaggio espressivo e non smarrirsi nel suo reticolo di pieni/vuoti sensoriali, con i primi dati da esplosioni di blasfemia non troppo distanti da quelle di Wrathprayer, Teitanblood o Beyond e i secondi a manifestarsi grazie a parentesi ambient dal sapore etnico e siderale. Un flusso di coscienza (trattasi di un’unica suite della durata di poco superiore ai quarantacinque minuti) che ci mostra il Nostro camminare sull’orlo dell’Abisso per poi descriverne con dovizia di particolari il tuffo in quel maelstrom ribollente e terrificante, con i riff, le ritmiche e le voci a farsi via via sempre più deformi e votati al culto di antiche divinità che creano e distruggono la vita.

Fire Walk With Us was perceived, composed and performed by Aborym, except for "Det Som En gang Var" composed by V. Vikernes
Recorded at Temple of Noise Studios, Roma, in January-May 2000 anno Kali Yuga. Produced and mixed by C.Ice. This Version has been mastered in Budapest by Attila Csihar. Noise-industrial-inferno by Aborym and C.Ice. Drumming devastation by Aborym.
Theta waves deconstructed by Mental Siege and Aborym- Original artwork and layout by Fabban. Restyling by Fabban. Aborym is incarnated in: Fabban ( bass, keyboards, samples, synth, vocals on "Det Som En gang Var", Nysrok ( guitar, guitar synth, solos, backing vocals on "Det Som En gang Var", Attila Csihar (vocals), Sethlans (guitars and samples)

Digipack CD

Meraviglioso debutto per questa band Doom Death made in Sweden:
Armonie cesellate con epica cura e furente passione si susseguono in un crescendo emozionale da cardiopalmo.
 

Official reissue of the 3 albums by the cult French band NEHEMAH.

Available in a limited six-panel Digipak Cd edition with 8-page booklet.

Official reissue of the 3 albums by the cult French band NEHEMAH.

Available in a limited six-panel Digipak Cd edition with 8-page booklet.

Inspired by the frost-bitten regions of Québec, the title of Cantique Lépreux’s second full-length directly translates to “polar landscapes,” exploring a recurring theme of the icy wilderness which makes up the majority of the band’s homeland.

Musically, Paysages polaires continues the nostalgic path laid out with the frosty, archaic tunes from the band’s debut album as the record carves itself into another 45-minutes of darkness, misery and gloom. Cold black metal for the ages, Paysages polaires’ stirring anthems – with a sharper and more direct songwriting approach – lead the way throughout the sophomore album’s seven hypothermic tracks.

Based on fast and atmospheric black metal, Paysages polaires balances between beautiful and harsh dirges in combination with the conceptual middle trifold of songs based around the North American winter. The passionate Québécois carry a secret fire of stellar splendor as Cantique Lépreux reveals a wild black metal monument set in ice and stone. "

Created in 2014, Cantique Lépreux feeds on Black Metal from all eras, reveling in its essence. Inspired by the wilderness of Québec, the Occult, death, and fear, Cantique Lépreux creates music that is at times grim, at other times melancholic; a work born of passion, paying homage to the legends of Black Metal.

Hailing from a scene that seems to endure as an archaic artefact of a genre that was extensively shaped by the early Scandinavian scene, Cantique Lépreux makes its public debut with 'Cendres Célestes'. While treading familiar ground, they unearth and truly encapsulate everything about their vision and are proof that there could not be a more suitable place than Québec to shape such glacier-cold and mournful hymns.