Majestic Black Metal

Finally available for the first time on LP, originally recorded in 1999.

With a fully restored layout, including handwritten lyrics and totally re-mastered for LP.

Officially released by Ragnarok Records, and distributed worldwide by ASRAR.

SALVIA GREEN LP, Lim. 88 copies

180gr LP, 3.5mm spine printed on 350gsm cardstock jacket with SALVIA GREEN FLOOD, SALVIA GREEN PANTONE and UV SPOT.
Includes a professionally printed thick INSERT.

Raw Black Metal

Dark, cold & melancholic Black Metal from Australia.

Comes with A2 poster + insert.

Black Metal

After a compilation based on works from the past, Lord Valtgryftåke “Buried Under the Carved Runes” is a totally fresh and very characteristic facet of this veteran is now shown. A sound coupling of rustic, old and classic aspect of the old pioneering hordes of black metal, this work enhances with malevolent winds some of the chamber recordings, never finished rehearsals etc, all this made available again in a new and characterful album.

Leaving a really interesting overture together with an intense lyrical message, pagan and full of southern mysticism. One of the main decisions to take into consideration was to venture into the old Nordic, Greek and Polish sounds to give an evil form to this new spectrum and transcend various parameters of minimalism orchestrated by a black twilight…

Black Metal

The bats having flown the belfry, YMIR continue their pillage of the present with the second album Aeons of Sorrow. Driving deeper into the past, Vrasjarn unfurls a comparatively more melodic and nuanced record that’s icier and, daresay, more beautiful. Here, he’s joined by the always-commanding presence of Corvus on vocals and prolific veteran drummer VnoM, with bass by True Black Dawn’s Syphon and additional synths by Tyranny’s Agathul – a crucial component of the mesmerizing tapestry of Aeons of Sorrow. To step into the album’s landscape is to imbue the spiritual essence, the psychic sensations, the all-enveloping ATMOSPHERE of 1995. Quiet castles, ice-capped mountains, beastly blizzards, infinite darkness, capes and swords and chainmail: while seemingly innocuous “triggers” for those who don’t breathe that essence – or worse, mere items of mockery – they serve as the textural touchstones for bands like YMIR and records like Aeons of Sorrow, both in increasingly short supply no matter what the internet might tell you. And yet, with the skillfully unselfconscious songwriting on display here, the album adds to that noble tradition rather than listlessly pecking at its remains.