€ 0,00
Il carrello è vuoto
Il carrello è vuoto
Back in stock - musica Black Metal e Dark estrema
THE NORWEGIAN EXPERIMENTAL BLACK PROGRESSIVE METAL PURVEYORS RETURN WITH A 68 MINUTE DARK MASTERPIECE OF CHALLENGING & UNNERVING INTROSPECTION
‘A Umbra Omega’ is DHG’s first album since 2007’s ‘Supervillain Outcast’ opus, and undoubtedly marks the band’s most challenging work to date; twisted, technical, sprawling, progressive epics and an inverted outlook on existence from the depths of band mastermind/writer/producer Vicotnik, with similarities drawn to previous classic DHG works such as ‘666 International’ and ‘Satanic Art’ whilst being taken to a whole new level.
Color in color: white with transparent blue vinyl
As a room's confining embrace, Kamra grabs and plunges you in a world of allegories, ruminations and imagery with their upcoming debut Cerebral Alchemy. There is no shortage of uneasiness intertwined with familiarity through sounds of those who came before and left their whispers for this five-piece to interpret in a disturbing, brutal, unnerving, beautiful and even caring way.
There is a black metal atmosphere with a kick of old school death metal, while the vocals leave one questioning the genres. As such Kamra is still veiled and secretive, as it is not exactly known who the members are.
Trhä truly stands in a league of its own. The sheer volume of material, combined with its distinctive, otherworldly approach to raw black metal, makes it feel like an inexhaustible well of inspiration. Even among the genre’s most prolific anonymous acts, few manage to be this consistently innovative.
This latest album is an excellent example of Trhä’s ability to push boundaries—blazing fast, drenched in atmosphere, yet never falling into predictability. That comparison to Liturgy on track 6 is fascinating, especially since Trhä usually leans more into dreamlike, folkish textures rather than the kind of rhythmic
deconstruction Liturgy does. And that synth closer? Just breathtaking. It’s rare for a project this prolific also to feel like it’s evolving constantly.
Hellish God was born in 2015 by the insane minds of Luigi Contenti and Michele Di Ioia.
Their intent was simple: to play Satanic Death Metal in vein of bands as Deicide, Diabolic, Krisiun and Rebaelliun.
Tya (Antropofagus, Mindful Of Pripyat) joined the band as frontman and lead vocalist in 2016 and the band recorded their debut EP called “Impure Spiritual Forces” four songs of devastating and savage death metal featuring Fabiano Penna of Rebaelliun.
In 2017 Stefano Malgaretti (ex-Imposer – ex-Voids Of Vomit) joined forces with the band as bass player and backing vocals. In January 2018 the band signed for the rising Everlasting Spew Records and released their first full album called “The Evil Emanations”, recorded and mixed by Carlo Altobelli at Toxic Basement Studio. The record was a collection of ten tracks of pure and devastating death metal featuring Rangel Arroyo from brazilian war machine Abhorrence.
In 2020 the band announced the split, but returned in 2024 with the original lineup duo ready to release their second full, again recorded at Toxic Basement Studio. This time the tracks are eight hymns of wrathful and chaotic death metal with a featuring of Brian Malone, former guitarist of Diabolic.
La mente degli OPERA IX Ossian ha commentato: ‘ “The Gospel” è un concept album focalizzato sul mito italiano di ‘Aradia, o il Vangelo delle Streghe’ scritto da Charles Godfrey Leland e che contiene ciò che l’autore pensava essere il testo religioso di un gruppo di streghe pagane in Toscana, documentando il loro credo e i loro rituali.
Finally, one of the most melancholic and intriguing albums of the Finnish '90s scene is available again on CD !
Languid sensations of searing nostalgia pierce the hearts of lost souls, drifting among the blurred glimmers of impalpable horizons. Dead leaves sink into the muddy paths of wooded lands, distant and forever forgotten. Like tears of radiant melancholy, silent tributaries flow into the river of betrayed passion, of emotions burning in the crackling hearth that illuminates the darkest nights.
If lament has a meaning, it explodes in an orgasm of sounds, echoes faded by a love sadly lost. A love clung to with the fragile strength of nails broken by the most lacerating anguish, screaming despair to the winds of silence, to the currents of abandonment. And no one listens, because among the branches of oblivion, the goddess of pain bestows eternal torment, an irrevocable exile to the lands of unhappiness, where the roars of deformed ogres erase the memory of sweet feminine choirs. There are few words left to describe the dazzling splendor of this work, tormented by the solemn progression of slow notes drowning in the deepest dismay. Ivory keys embrace the delicate six-string, at times "electrically" agitated, at times soft and acoustic; Gregorian chants virtuously duet with the seductive femininity of a weeping maiden, while drowsy rhythms lazily support the eleven hymns to decadence presented here.
Classical music infused with virtuosic pianos, dreamy synths, and guitar echoes suspended between the darkest doom and Floydian solos give birth to a unique monolithic blend where melody reigns supreme. No space for metallic accelerations, no sign of life in the motionless drumming—only a bleak sense of burning defeat emphasized by the slowness of tracks that celebrate the funeral of hope. This, without the need for screams or shrieks, using harmonies of torturous sweetness that push the listener to the limits of sonic endurance, generating a chant of pure and profound gothic essence.
A well-deserved tribute goes to the individual, talented musicians, particularly to the penetrating Gregorian voice of Jukka Vuorinen (skilled in weaving highly emotional riffing) and to the crystalline warbles of guest Sini Koivuniemi, capable of conveying both delicate and tempestuous emotions. For an hour, surrender to the desolate caresses of this dark oblivion.
Emptiness you will all sink in.
