Black Metal

Limited edition of 500 copies with 12″ inlay.

Black Metal

After many demo recordings, Black Door unleashed its first fulllength output, consisting of five intense hymns in devotion to Older Gods. Chaotic riffs, screams in reverence, and wailing chants form the harbinger of an elder spirit’s coming. One which is not welcoming.

Black Metal

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

Black Metal

From the frost-shrouded crypts of eternity emerges Black Funeral’s unholy testament, “Vampyr Throne of the Beast” – a glacial monument to the undead sovereigns who rule from shadows beyond mortal comprehension. This arcane opus channels the primordial darkness of castle keeps and moonless nights, where ancient bloodlines converge in blasphemous ritual. Released originally in 1995, “Vampyr…” is the debut album that established Black Funeral as one of the foundational bands in the American black metal scene.
Each track unfolds like parchment scrolls inscribed with forbidden knowledge, weaving tremolo-picked melodies that slice through the veil between worlds. The album’s frigid atmosphere conjures images of candlelit chambers where vampiric nobility hold court, their pale forms draped in medieval splendor as they preside over kingdoms of bone and shadow.
Raw, hypnotic passages cascade like winter winds through gothic spires, while ritualistic percussion echoes from stone halls where no mortal foot has tread for centuries. The production’s deliberate coldness preserves the necromantic essence – each note crystallized in ice, each vocal incantation rising from depths where daylight dare not venture.
“Vampyr Throne of the Beast” stands as a grimoire of black metal orthodoxy, summoning the spectral majesty of Europe’s darkest medieval legends. This is music for the witching hour, when the boundary between the living and the eternally damned grows thin, and ancient powers stir in their unhallowed thrones.

NOTE: Pre-order – Sent on 09/26/2025

Black Metal

From the frost-shrouded crypts of eternity emerges Black Funeral’s unholy testament, “Vampyr Throne of the Beast” – a glacial monument to the undead sovereigns who rule from shadows beyond mortal comprehension. This arcane opus channels the primordial darkness of castle keeps and moonless nights, where ancient bloodlines converge in blasphemous ritual. Released originally in 1995, “Vampyr…” is the debut album that established Black Funeral as one of the foundational bands in the American black metal scene.
Each track unfolds like parchment scrolls inscribed with forbidden knowledge, weaving tremolo-picked melodies that slice through the veil between worlds. The album’s frigid atmosphere conjures images of candlelit chambers where vampiric nobility hold court, their pale forms draped in medieval splendor as they preside over kingdoms of bone and shadow.
Raw, hypnotic passages cascade like winter winds through gothic spires, while ritualistic percussion echoes from stone halls where no mortal foot has tread for centuries. The production’s deliberate coldness preserves the necromantic essence – each note crystallized in ice, each vocal incantation rising from depths where daylight dare not venture.
“Vampyr Throne of the Beast” stands as a grimoire of black metal orthodoxy, summoning the spectral majesty of Europe’s darkest medieval legends. This is music for the witching hour, when the boundary between the living and the eternally damned grows thin, and ancient powers stir in their unhallowed thrones.

NOTE: Pre-order – Sent on 09/26/2025

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

Intense Black Metal with suffocating atmosphere and evocative instrumentation.

In the bands own words “Black metal in its purest spirit, inspired by the artist Francisco de Goya y Lucientes.”

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.

Black Metal

Dark and relentless scent of true Black Metal.

Black Metal

Raw melodic Black Metal from Norway and USA.

In this second album, Blutumhang features a more straightforward set of songs, but maintaining their majestic and distinctive venomous sound.

Black vinyl, presented with an insert and an A2 poster.

Industrial

Body Sculptures is a contemporary project that brings together five unique voices in European experimental electronic music today. The formative element is the collaborative pact between Sweden’s Northern Electronics and Denmark’s Posh Isolation.

Last year marked both Body Sculptures’ debut live performance —a highly notorious set at Berlin Atonal Festival 2015— as well as their debut recording, The Base Of All Beauty Is The Body. The disparate elements that have come to inform the project thus far are further refined and encoded in their new LP, A Body Turns To Eden.

RAC/Oi!

When this disc first saw the light of day in 1992, the album hit like a bomb. The musical comparison was too blatant in contrast to what had previously populated the sound grooves and CDs of the relevant labels, no strumming and noise, but razor-sharp guitar riffs and rock-hard drum sounds. And with a vehemence that the inclined consumer was only used to from heavy metal groups from professional studios up to this point. It’s been a long time! Anyone who wasn’t there back then is welcome to grab it today and treat themselves to these pleasant metal showers again (or for the first time?).

Due to the increasingly narrow corridor of opinion in the Federal Republic of Germany in 2019, accompanied by politically desired criminal prosecution, two songs unfortunately had to be removed compared to the original CD. The tracks “The boat is full” and “Why do you stay silent?” are NOT included on this record!