Black Metal

“Haunter of the Deep” is an album filled with melodic and melancholic Setapophian Black Metal darkness that will drag you from the shallows into the murky depths below…
A journey to great empires forgotten by time… A trident to plunge and fill your lungs… And as death creeps closer with the tides and you are pulled into the Abyss, bioluminescent beings will become the last light that you see…

Black Metal

Recorded in the dead summer of 2007 and released in the same year, “Of Celtic Blood & Satanic Pride” is a notoriously polarizing album from this Australian Black Metal entity. An album that awakens the dormant genetic memory in ones veins while exploring the esoteric and occult aspects of the past.
Strong willed and setting a blazing pathway towards all future releases from Drowning the Light.

Black Metal

This EP of raw, melancholic & bloodthirsty Black Metal is based on the painting and drawing of the same name by William Blake of a Vampyric entity that appeared before him during a séance with John Varley in 1819.
The two would often gather late at night in Varley’s house, and played a game in which Varley would attempt to summon the spirit of a historical or mythological person. On the appearance of the spirit, Blake would then attempt to sketch their likeness.
According to Varley, the imagery of a Flea came to Blake during an 1819 séance.
The Flea entity told Blake that “fleas were inhabited by the souls of such men as were by nature blood thirsty to excess.”
The flea communicated to Mr. Blake; “It was first intended,” said he (the flea) “to make me as big as a bullock; but then when it was considered from my construction, so armed – and so powerful withal, that in proportion to my bulk, mischievous as I now am, that I should have been a too mighty destroyer; it was determined to make me – no bigger than I am.”
The sketch and painting of the Flea, part human, part Vampyre and part reptile have led many to believe William Blake was communing with something far more sinister…

Black Metal

The full-length from 2011 available again on LP.

Limited to 400 copies.

Released on standard black 140g vinyl in a 350gsm gatefold jacket with inside flooded in yellow and matt varnish.

Black Metal

Some of the best DtL material available again on DLP.

Limited to 400 copies.

Released on standard black 140g vinyl in a 350gsm gatefold jacket with inside flooded in yellow and matt varnish.

Black Metal

This split album may seem like a strange pairing, but it couldn’t be more fitting! Both entity’s tracks are based around the paranormal and Occult activity which this particular Mountain is notorious for, not only in local folklore but Azgorh’s own personal experiences in the house he grew up in on the mountain, as well as many experiences within the forest of the mountain over the years since… and still to this day. The strange burial-like mounds, the unearthly sounds echoing between the trees and the shadows that stalk the hills. Those who have been on the mountain at night especially know what I speak of. The tracks within this split weave between each band, Drowning the Light bringing its signature haunting, melancholic & majestic Black Metal, while Ghosts of Oceania creates eerie midnight music filled with darkness and a sinister yet sombre nostalgia. Both band’s very existence have been shaped by this mountain and the experiences upon it. This split is the eerie dread that washes over you the deeper into the forest you go, straying from any human path, the eyes of the forest watching… It is the majesty, melancholy and nostalgia that engulfs your being without explanation… It is that which will always haunt you yet draw you in closer… The Mountain always calls…

Black Metal

FURIS IGNIS is brand-new one-man entity hailing from Germany. Despite its relative newness, FURIS IGNIS indeed wields German steel forged during the days of the ancients. No more but definitely no less, the band’s Decapitate the Aging World debut is pure ‘n’ proud black metal from the days when black metal was strictly BLACK METAL. As forecasted by its starkly alluring cover art, Decapitate the Aging World recalls misty and mystical spirits from glorious, desolate times – be they Moonblood or early Desaster or equally early Katharsis – planting the banner of olde Germania deep into the frost-covered soil. And yet, for all this requisite coldness, more potently does a FIRE burn within FURIS IGNIS that makes its debut statement one that commands attention for its undeniably physical intensity: ghoulish and grim, yes, but stout and muscular and legitimately live. Underpinning this fiery intensity is a tasteful dusting of shimmering synth – “a touch of medieval darkness,” as it were – just lingering enough like fog across a haunted moor.

Undeniably epic in its six-song/40-minute construction, Decapitate the Aging World breathes new life into death.

100x White/Black Vinyl

Wasting no time with this enviable momentum, GRABUNHOLD return little more than a year later with more medieval madness: Heldentod, their full-length debut. Just as spellbinding as the preceding EP but even more expansive, Heldentod immediately creates a compelling canvas that’s simultaneously tied to tradition and pushing that tradition further. Its songwriting and attendant soundfield suggest strong second-wave vibes – silent citadels, sequestered keeps, dark dungeons – but never whiff of retro posturing or ham-fisted revisionism; rather, their invocation runs parallel to the Old Ways, fluently speaking the ancient dialect instead of stunted pidgin. In other, more telling ways, Heldentod strikes upon braver and less-travelled territory, bristling with a sparkling sort of production that’s palatable in its almost-crystalline sheen and befitting the album’s contents. Here, GRABUNHOLD maintain a more solemn aspect – more “pagan,” if you will – that’s given spectral flight through cascading melodicism and an integration of choral vocals, perhaps most stirringly encapsulated in the Spartan hymn “Trommeln in der Tiefe.” Elsewhere, the fire of old burns hotter than ever, with the band’s bravado amplified by the powerful ‘n’ pro production.

Black Metal

Hailing from Germany, GRABUNHOLD are ’90s black metal classicism incarnate. The quartet showed boundless promise with their first demo, Auf den Hügelgräberhöhen, in 2017, but it’s with their debut EP, Unter dem Banner der Toten, where GRABUNHOLD really come into their own – and quickly. Comprising three central black metal tracks and a solemn instrumental, this swift ‘n’ spellbinding short-length references a whole host of timeless influences – beyond the wandering moon, an arising realm upon a shadowthrone, dark waters stirring at the dawn of the dying sun – but processes them in such an undeniably Teutonic, swords-drawn way that’s wholly their own, and wholly refreshing. It’s medieval madness run riot, and it’s riotously compelling.

Black Metal

Since their emergence in 2011, HOUSE OF ATREUS have become one of the most singular hordes to hail from North American soil during that time. Across a demo, an EP, and two successive full-lengths, the Minnesota natives have patiently and painstakingly crafted death metal of a most epic order. A veritable riff-machine, HOUSE OF ATREUS are powered by the Greek tragedies and have that very same tragedy (as well as triumph) coursing through their rough ‘n’ rugged veins. Theirs is a sound unapologetically influenced by the ancient Hellenic legends Varathron and Rotting Christ as well as other singular riff-machines like Grand Belial’s Key and Arghoslent, and the earliest and most blackened works of Running Wild. However, HOUSE OF ATREUS handily transcend these influences, as evidenced by their critically acclaimed second album, From the Madness of Ixion, released in 2018 by IRON BONEHEAD. Truly, the quartet managed to add to this glorious lineage rather than merely bottom-feed off it.

Black Metal

Just like debut albums properly should, Godslastering Hymns of a Forlorn Peasantry straddles both HULDER’s past as well as unearthing new paths. Within the eight songs comprising the 40-minute record, Hulder spans myriad generations and idioms of black metal, but all deeply rooted in ’90s classicism: from the paganisms of earliest Enslaved, Ulver, Isvind, and Kampfar to the hypnotizing grit of classic Judas Iscariot and Grand Belial’s Key, on to the mystical majesty of unsung Greeks like Zemial and Kawir and even over to the woodland wonder of old Opera IX. Which is all to say that HULDER here not so much mimic their forebears so much as meld the idiosyncrasies inherent to each into a masterclass in all-caps BLACK METAL songwriting: dynamic, engaging, nuanced, and transportive, but undeniably physical in its pulsing vistas of darkness and mystery. Likewise, Godslastering Hymns of a Forlorn Peasantry is structured like a true album, with Side 1 kicking in an utterly feral manner and cresting along to vicious wanderlust and ending on the eerily restrained near-ambient hymn “De Dijle,” and then Side 2 furthering the synth mysticism and maintaining a more triumphant aspect, with the closing magickal march of “From Whence an Ancient Evil Once Reigned” sounding not unlike a lost relic from Grieghallen circa 1994. And all this is encased in a production that’s rich, robust, and rounded; only the rawness of the performances bleed into the soundfield, a clear division from HULDER’s earlier demo days.

LP size booklet + poster