Vinili

Tellingly titled, The Awakening displays yet more sides to this still-unfolding entity. To be sure, Valravn's poise and power are firmly accounted for here - you can still FEEL every note, so vital, virile, and vivid - and they've even added a bit of death metalled muscle, too, but the songwriting itself is where their second album truly takes flight. Sharp and yet never sterile, thanks to a production that's on the right side of polished, there's an acute balance of contrasts across The Awakening's 44-minute runtime; each of the album's eight songs features some twist of melancholy and militancy, of bursting color and bristling monochromatism, of stoic resignation and steadfast determination, of man-on-the-mountain spaciousness and stuck-in-the-catacombs claustrophobia. Concluding with the literally breathtaking "Charge of the Last Cavalry," The Awakening consolidates all the strengths of its predecessor and indeed leads Valravn into a new charge for glory. 

An otherwise-new entity, Valravn nevertheless evince a mastery beyond their short time as a band with their first public recording, the full-length Prey. Arriving very fully formed, Valravn's debut album no doubt displays characteristics of Finland's now-world-renown black metal sound - cryogenic melody, raw 'n' rugged execution, an unapologetic assertion of traditionalism - but in other, more telling aspects, Prey asserts its own identity counter to this prevailing paradigm.

Valravn truly sound like a band, as in four individuals playing together in the same room rather than the usual copy/paste practices used by so many studio-only "bands." This very tangible physicality bleeds over into the overall emotion of Prey, whereby the listener can literally FEEL every note...and every note is vital, virile, vivid. Of course, Valravn are a black metal band, and black metal by definition is monochromatic, but that vividness is writ large across the album's eight central tracks, each one as cutting 'n' concise as the next. As such, Prey feels a lot larger than it should, for the band pack in an almost-cresting sense of the epic into these tight 'n' taut tracks.

Terzo full-lenght per Lustre, progetto musicale solista portato avanti da Nachtzeit, polistrumentista svedese già impegnato in passato in svariate band, come i prolifici Hypothermia.
 

Green, white and black marbled 12" double vinyl (33rpm) in deluxe gatefold with spot gloss and 30cm x 60cm poster.
Limited to 350 copies worldwide!

Hailing from the mist-clad highlands of Scotland, SAOR is a band that breathes life into history with their majestic blend of black metal intensity and Celtic folk melodies. Guided by the spirit of Caledonia, SAOR's music transcends time, echoing the ancient tales of their homeland.
Amidst the melancholy ruins and the grandeur of nature, their new album, ‘Amidst the Ruins’, majestically intertwines the past with the present. From the haunting echoes of “Glen of Sorrow” that recounts the betrayal of the Massacre of Glencoe, to the forest's whispered secrets in “The Sylvan Embrace” featuring cellist Jo Quail, each track is a portal to Scotland’s rich heritage. With “Echoes of the Ancient Land” and “Rebirth”, listeners are invited on a journey through weathered glens and ethereal hills, where each melody reveals a narrative of strength, sorrow, and renewal.
This album is a tribute to the timeless landscapes and ancestral spirits, capturing the soul of a nation in every note.

From the deep woods now emerges Birna, Wardruna’s sixth studio album.

Through his never resting dialogue with nature, main composer Einar Selvik has been searching for the voice of the bear. Birna – the she-bear in Old Norse – is a work of art dedicated to the warden of the forest, nature’s caretaker, and her battles here on earth. Slowly driven out of her habitat by modern day societies, she has entered a stage of permanent hibernation. As a result, the forest is gradually dying, longing for its pulse and heart – its shepherd. Birna calls for her return.