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Il carrello è vuoto
Il carrello è vuoto
Back in stock - musica Black Metal e Dark estrema
Re-issue, original sound recording!
500x 12'LP 180g cherry eco red, 350g jacket with 3D UV SPOT, 220g innersleeve, all assembled in a PVC overbag.
Nota: questo ep faceva parte del set "The cursed Singles"
Non era in vendita singolarmente.
Copertina: VG+ Vinile: mai ascoltato ma con qualche macchia di polvere
‘Den Svevende Festning’ features six tracks and over 32 minutes of raw and atmospheric Norwegian black metal, most notably containing exclusive and unreleased material recorded during the ‘Katedralen’ album sessions, in the shape of the title track (also the theme for the cover image, an old drawing of Fredriksten Fortress in Eriksen’s home-town of Halden), and ‘Ormtunge’. Side A is completed by the alternate arrangement of the track ‘Født Til Å Herske’, previously only available digitally. Side B contains a selection of live tracks from Mork’s recent shows, featuring a series of tracks from the ‘Katedralen’ opus.
Since their formation in 2007, MINENWERFER have pursued a proud 'n' pure vision of black metal idiosyncratically focused on World War I - idiosyncratic, in the sense that the band hail from America but mostly sing in German. What has resulted is a startlingly accomplished canon that has quietly built itself into prolific proportions, with their first album arriving in 2010, followed by albums in 2012 and 2019, and a slew of split releases and EPs in the interim.
Of those many short-length releases, Der Rote Kampfflieger is the oldest and perhaps most curious. Here, MINENWERFER offered the new track “Ace of Aces,” the reworked “Albatros in Flammen,” and two very surprising covers: deep martial industrial artist Striider's “Schüzengraben” and legendary shredder Yngwie J. Malmsteen's early scorcher “I am a Viking.” MINENWERFER for sure have their own identifiable sound, but they're not afraid to push it in strange directions from time to time.
300x gold with black marble effect 12" (180g) in a black poly-lined innerbag, download card, gatefold full color on 350g, all assembled in a PVC overbag.
Originally recorded in 2013 during the "Kriegserklärung" sessions and released in 2017 as a split with Kommandant. These tracks convey the aftermath of the Great War in early 1919 by covering the brutal street fighting of factions in the early Weimar Republic. Some of the fastest and most intense songs of the band's early period are here, as well as the first experimentation with neofolk.
200x heavyweight milky clear 12" (180g) in a microtene innerbag, printed innersleeve, full-color on 220g carton (coated paper), jacket, full-color printed on 350g carton, coated paper (semi-gloss), all assembled in a plastic overbag. Specially remastered for vinyl with a complete new artwork and layout.
Reprint, 1000x bloodred with black marble effect 2x12" (140g) in a black poly-lined innerbag, 4 pages booklet on 180g offset paper, gatefold jacket on 350g uncoated (matte) with UV spot lacquer, all assembled in a PVC overbag.
First time ever on vinyl, gatefold cover, limited edition silver vinyl.
1000x heavyweight grey vinyl 12" (180g) in a black poly-lined innersleeve; download card; poster A2, full-color on 150g art paper, gatefold, full-color with black flood inside, printed on 350g, all assembled in a plastic overbag.
Although 'Pale Folklore' stands as Agalloch`s debut record, it already embodies several elements that later became part of the band`s signature sound. Effortlessly picking up from their excellent demonstration cassette, it sees the band refining their sound even further. An audio amalgamation combining the profoundness of early Ulver, with the gloom of old Katatonia and the exalted boldness of Fields of the Nephilim, thus adding unique elements of nostalgia and atmosphere to their own melodic interplay of guitars and excellent musical framework. The album contains strong signs of a band that knew at a young age how to draw their canvas. Influenced by the landscapes of the American Pacific Northwest, and with an essence reminiscent of the Scandinavian wilderness, it firmly put Agalloch on the map and raised eyebrows about what a band from North America can be capable of.
As a person that grew up checking out records based on their cover artwork alone, this album was particularly notable - the wood grain cover with a gold emblazoned logo engraving was instantly enthralling. This is music that glorifies the night sky, envisions campfire magic, heralds nature over humans, arcane arts & poetry, and worships the beauty of a crackling fireplace. It could be the soundtrack for a lone wanderer striving through a wintry storm, only to end up knocking on a faded wooden door to find shelter in a desolate cabin. In many ways the sound of forlorn times.
If you are looking to fill your heart with woodsmoke and the fire of the mountain's spirit, look no further.
"Pale Folklore was a watershed moment in American heavy music, when a few young musicians with a shared love of underground death metal – and broad personal tastes beyond – turned their already virtuosic talents toward a fresh hybrid of metal and neofolk through a gothic lens." Daniel Lake / author of USBM: A Revolution of Identity in American Black Metal
One of the metal underground’s best-kept secrets, WARLUST began their assault on the false in 2012. The title of their debut demo, 2014’s Unholy Attack, said everything it needed to: here was blackthrashing METAL, steeped in the spirits of old and with genuinely evil blood coursing through its veins. However, it was 2017’s Morbid Execution debut album where WARLUST first truly took flight – on burning wings of flame! More intense, more epic, more heavy fucking metal, Morbid Execution carried on the noble work started by founding fathers Desaster in their homeland and Deströyer 666, Zemial, and Aura Noir abroad.
But, while that debut LP was still tethered to more traditional-style blackthrash, with Unearthing Shattered Philosophies do WARLUST’s songwriting chops blossom with startling strength and crushing clarity. It’s all immediately WARLUST, for sure, but within the album’s eight-song/45-minute runtime lurks a travelogue of terror and triumph, of melancholy and malevolence.
