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Il carrello è vuoto
Il carrello è vuoto
Back in stock - musica Black Metal e Dark estrema
Deluxe 8-panel digipack. The classic masterpiece and second Aeternus album of black dark Norwegian metal finally re-issued! Heavily rooted in the classic black metal scene from Bergen, Norway, Aeternus first released their second album "...And so the night became" in 1998. 22 years later the long overdue re-issue is finally presented with the original cover art!
"... 1996's Triarchy of the Lost Lovers is RC's triumph and masterpiece. It is among the best extreme metal albums every made. Each song strikes a different chord inside the listener, making each song unique in delivery, yet the songs reign in the realm of the album. The drums especially the snare drum hit with a clear resonance. Though the guitars are low tuned for the Death/Black metal genre, they emit sound clearly and in the perfect space inside the open air of the album's production. At times Sakis nearly whispers and can be heard just as well as the loudest guitar. Though Rotting Christ are unquestionably an Extreme Metal group, playing the heaviest on Triarchy is not a primary goal, and hardly a secondary goal. The combination of distinctly heard guitar riffs that have the perfect tone and overdrive and the impeccable melody and sublime guitar harmony throughout makes the album pace at a nearly enchanting speed. Triarchy is one of the best extreme metal albums, and makes the case that this extreme genre of rock can not only be uncompromisingly heavy and brutal, but also uncompromisingly beautiful and artistic...."
The 1995 Swedish black metal classic re-issued with original cover art, old images and including the 1994 demo "North Storms of the Bestial Goatsign" as bonus tracks!
Jewel case cd with clear tray, 8-page booklet printed on 135gsm art paper.
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.
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.
White Vinyl
Marking 20 years since its original release, Dodheimsgard’s classic and highly-regarded debut ‘Kronet til Konge’ is now presented on 180gm heavyweight black vinyl with a four page booklet featuring additional content, including unseen
photographs and liner notes from all three performers, sharing their memories of the band’s formation and early history.
COINCIDING WITH THE TWENTY-FIFTH ANNIVERSARY OF GODKILLER’S FINAL FULL-LENGTH ALBUM OF DARK METAL WITH INDUSTRIAL & ELECTRONIC ELEMENTS.
Formed in 1993 & hailing from Monaco, Godkiller was the vision of multi-instrumentalist & sole founding member, Duke Satanaël, who between 1996 & 2000 released an EP & 2 studio albums under the Godkiller name, commencing with the black metal cult classic debut 'The Rebirth Of The Middle Ages'.
Though initially more a death metal inspired act in the formative years, Godkiller quickly developed into a project fully engulfed in the spirit of 1990s black metal, bringing to mind acts like Emperor & Satyricon for the implementation of such strong atmospherics, though on later releases Godkiller incorporated more industrial & electronic elements into the compositions as part of its creative evolution.
‘Deliverance’ was Godkiller’s second studio album & final release before the project was laid to rest & ventured into a more electronic & industrially metallic direction for what could be considered a more contemporary & expressive take on Godkiller’s established brand of darkness.
Coinciding with the album’s 25th anniversary, this edition of ‘Deliverance’ is presented on CD format for the first time since its original release, including an eight page booklet with full lyrics.
