Black Metal

Devout Records presents two essential Leviathan compilations, “The First Sublevel of Suicide” and “Unfailing Fall into Naught,” both on double-LP format and both containing several additional rare and previously-unreleased tracks. These editions are products of the band’s own label and are thus superior to the notoriously substandard versions from Ascension Monuments Media. “The First Sublevel of Suicide” includes demo versions of songs from the band’s debut album which were not made available to AMM and features new artwork from Brian VDP, who also executed the layout for both releases. “Unfailing Fall into Naught” compiles the recordings from Leviathan’s split releases with Sapthuran and Xasthur and is presented with new artwork from Wrest himself, in addition to the aforementioned bonus tracks.

RAC/Oi!

Full-length from 2011 available on LP.

Black Metal

The first album from 2006  available again on LP.

Black Metal

LIMBONIC ART are back! Their ninth full-length “Opus Daemoniacal” is black as a raven, fierce as a wolf, majestic as an eagle, and mighty as the legendary Norwegian black metal pioneers that mastermind, vocalist, and multi-instrumentalist Vidar “Daemon” Jensen founded in 1993 have always been. “Opus Daemoniacal” continues along the more straightforward black metal path that the Norwegian has chosen for his last releases yet this album also deliberately harks back to the dense atmospheric and cinematic feel of LIMBONIC ART’s groundbreaking early works. After having turned into a duo, the debut album “Moon in the Scorpio” was released in 1996 via Nocturnal Art Productions – the label of EMPEROR guitarist Samoth aka Tomas Thormodsæter Haugen

Symphonic Black Metal

LP edition of the 1998 full-length.

Symphonic Black Metal

DLP edition of the 1997 full-length.

Black Metal

LP edition compiling The Art Of Dying (Demo 1993) and Into The Frozen Shadows (Demo 1994).

Black Metal

Seeping with an ominous grandiosity, the sole Lord Kaos album “Thorns of Impurity” is truly a forgotten relic in the pantheon of 90s symphonic black metal. Behind the morose keyboards and rigor mortis burdened drumming lies the key to Lord Kaos’ sound – guitarist Jamie “Astennu” Stinson. Before the release of “Thorns of Impurity”, Astennu migrated to Norway, through his connection to Slayer Mag’s Metalion, in order to record his solo project Carpe Tenebrum at the legendary Creative Studios. While in Norway he would join Dimmu Borgir and Covenant in the midst of a very successful era in both bands’ respective careers. Though the records he would record for those acts and his solo project have garnered fans worldwide, “Thorns of Impurity” has remained an underground classic. Astennu’s razor sharp riffing, alongside the superb musicianship of fellow bandmates Incubus and Lord of Night Summoning added a new dimension to the cosmos of Australian black metal. Though Australia isn’t known for its frost bitten mountaintops, the unforgivingly ice cold atmosphere of this album is a testament to the imperishable vision of Lord Kaos. The time has finally come to enter the Hall of Shadows!

Black Metal

(1-4) In Nomine Rex Infernus Reh. VII. 1993
(5-6) Reh. X. 1992 (No Vocals)
(7-10) Reh. III. 1993 (No Vocals)
(11-15) Satanic War Master (Der Fuhrer) – Reh. III. 1994
(16-18) Reh. V. 1994 (No Vocals)

Black Metal

Black Metal from USA in the great 90’s vein !

Vinyl 12″ LP limited to 300 copies.

Black Metal

Re-release of the 1995 demo tape, with 3 additional tracks (B5-B7).

Tracks A1-A4 is the “Hymns To The Moon” demo 1995.

B5 previously only released on Ghosts Of Fall ;

B6 & B7 are previously unreleased live tracks. Includes double sided insert.

Death /Black Metal

Formed in Michigan during the late 80s, Lucifer’s Hammer was a prominent fixture in the Midwest underground, playing numerous regional gigs and routinely featured in the lineup of at Michigan Death-fest. The earliest incarnation of the band was more thrash-oriented, but as the band evolved, it gravitated toward a darker black/death metal sound. By the mid 1990s, Lucifer’s Hammer was part of a circle that included such bands as Summon, Masochist, and Wind of the Black Mountains, all of which at some point shared members with Lucifer’s Hammer. It proved to be among the most fertile scenes of early USBM around that time. Although Lucifer’s Hammer released two earlier demos, it was with their 1994 self-released tape, “The Burning Church,” that the band left its most enduring mark. Lucifer’s Hammer was among the first American bands to play death metal suffused with the atmospheric darkness and savage ferocity associated with the then-emerging black metal movement. On “The Burning Church,” the band plays relentless blackened death steeped in a miasma of blasphemy. Indeed, this demo is among the darkest death metal recordings of its time. Lucifer’s Hammer should be mentioned alongside bands like Profanatica, Demoncy, and Absu.