Black Metal

Compiles the EPs ‘One Touch Is Enough’ and ‘Where Desert Shadows Dance’ on one LP.

Black Metal

From the forbidden depths of vampiric sorcery emerges Black Funeral’s most haunting conjuration, “Empire of Blood” – a spectral tapestry woven from the arcane mysteries of the undead nobility. This otherworldly opus channels the ancient magicks that flow through immortal veins, where centuries-old rituals bind the living to eternal darkness. Black Funeral is one of the originators of “Vampyric Black Metal” from the early to mid 1990’s! Each track unfolds like an incantation from blood-stained grimoires, driven by haunting tremolo melodies that spiral through the shadows like phantoms in midnight procession. The album’s ethereal atmosphere conjures visions of pale aristocrats performing forbidden rites in candlelit chambers, their empire sustained not by conquest but by the dark arts that transcend mortal understanding.

Black Metal

Comprising four tracks in an epic 40 minutes, Return of Primordial Stillness indeed sounds primordial and indeed invokes a crypt-like stillness, but there’s so much more going on here. The record is bookended by two mostly instrumental tracks, with the two central compositions – “Celestial Syntropy” and “Celestial Entropy,” which are 14 minutes and 16 minutes, respectively – canvassing a wide sonic landscape, howling and desperate and yet strangely triumphant and even perversely soothing, such is their catharsis sought

Black Metal

Black Legions Metal

Black Metal

LLN cult material.

Feast demo (tracks 1 to 6 ):
Recorded on 4 tracks in 07/1995 at Wlad’s place, Brest.
Digitized and remastered from a 1st gen copy in 09/2018 by Wlad.

Black Metal

Re-envisioned, re-ensorcelled, and resurrected from the grave soil of Perth, Australia, rises those dual emanations of phantasmal possession, Desgranges & Black Putrescence, both of which have been under the power of the one known only as B.C since the earliest age of the 21st century of terror. Exhuming grimoires of old and dusting off those bloodstained pages of yore, B.C has taken two of his most powerful entities—those of the blackest raw dissonant sorcery—and delivered upon the mortal world a spell from each. So it should be fitting then that the iron tomb tower of GoatowaRex filth rot worship brings these two spells of ancient stench to acolytes upon seven inches of sodomy, upon the raven of wax and blackest of vinyl.

Black / Trash Metal

With its previous releases from the likes of Reencarnación and Nemesis, Nuclear War Now! has demonstrated its affinity to the “Ultra Metal” scene that was endemic to the city of Medellín, Colombia in the late 1980s and early 1990s. This strain of unhinged fury was spawned by the great Parabellum, who is recognized as the first extreme metal band to emerge from Colombia and one of the first from the entire continent of South America. Upon Parabellum’s disbandment in 1986, the similarly-styled Blasfemia was born. Founded by two members of Parabellum, Ramón Restrepo (vocals / bass) and Jhon Jairo Martínez (guitars), Blasfemia sought to outdo the rawness and brutality of its predecessor in a sound that reflected the harsh reality of existence in a place ruled unofficially but unequivocally by the sinister hand of a powerful drug cartel. To execute this vision, the two founding members called upon the services of neighborhood friend and percussionist Luis Fernando Cano. Between 1986 and 1988, Blasfemia performed live a handful of times with bands such as Reencarnación, Nemesis, Astaroth, Profanación, Necromantie, Glöster Gladiattor, Necrofilia, and others. It also recorded several demo tracks and, most notably, a four-song EP entitled “Guerra Total.” The EP was released on 12-inch vinyl format in two separate iterations by two different entities in 1988. The more limited version was apparently pressed on only 100 copies and is identified by its gray center labels, but it was not fully endorsed by all members of the band. The other edition, which features red center labels and a secret needle mark, was pressed on 500 copies. Alternate versions of two previously-recorded tracks were also released on two different compilations in 1988 and 1989 before Blasfemia essentially disappeared until its reemergence in 2011.