Black Metal

Just as timeless as Netherstorm, if not more so, VARGRAV once again evokes the visionary works of old Obtained Enslavement, Dimmu Borgir, Abigor, Limbonic Art, and especially early Emperor. And once again, another classic of symphonic black metal graces the purple-velvet landscape of our imagination, and it bears the justifiably arrogant title of Reign in Supreme Darkness.

Black Metal

From the dawn of the classic debut album, Netherstorm, in 2018, Finland’s VARGRAV have almost single-handedly reinvigorated the oft-maligned symphonic black metal subgenre. Forged in fires from the ancients – founder V-Khaoz’s credentials are vast and stretch back decades – and stoking the embers last left by Obtained Enslavement and Norway’s Covenant and Odium, VARGRAV’s two albums to date stand as proud pillars of shimmering, classics-based obsidian.

As momentous as those two full-lengths have been, VARGRAV arguably eclipse both with their third album, The Nighthold. With a lineup that now includes the notorious Graf Werwolf von Armageddon on vocals and Moonsorrow members Trollhorn of the Black Harvest on guitars/bass and Baron M. Tarwonen on drums, VARGRAV’s swirling, cosmic surge has never been more potent; their attack is both sharper and dreamier, crystal-clear and opaque simultaneously. That added clarity creates more immediacy as The Nighthold kicks in, for the aggression of old is kicked into overdrive here and the synths take on a truly orchestral aspect. It’s not for nothing that the album is a full hour in length: everything here sounds (and feels) HUGE, one massive velvety purple landscape of stained-glass visions as far as the third eye can see. And all 12 tracks are threaded together in a plausibly cinematic manner; while each is mighty in its own respective right, VARGRAV sequence every song with artistic flair and high drama, concluding the immersive experience with a daresay-soulful guitar solo during the coda of “Creator of the True Realm” that then segues into the nearly-10-minute big-screen instrumental “Ghostlands.” What film or filmic realm one enters into (or leaves) is entirely up to the listener…The Nighthold is boundless!

Black Metal

From the dawn of the classic debut album, Netherstorm, in 2018, Finland’s VARGRAV have almost single-handedly reinvigorated the oft-maligned symphonic black metal subgenre. Forged in fires from the ancients – founder V-Khaoz’s credentials are vast and stretch back decades – and stoking the embers last left by Obtained Enslavement and Norway’s Covenant and Odium, VARGRAV’s two albums to date stand as proud pillars of shimmering, classics-based obsidian.

As momentous as those two full-lengths have been, VARGRAV arguably eclipse both with their third album, The Nighthold. With a lineup that now includes the notorious Graf Werwolf von Armageddon on vocals and Moonsorrow members Trollhorn of the Black Harvest on guitars/bass and Baron M. Tarwonen on drums, VARGRAV’s swirling, cosmic surge has never been more potent; their attack is both sharper and dreamier, crystal-clear and opaque simultaneously. That added clarity creates more immediacy as The Nighthold kicks in, for the aggression of old is kicked into overdrive here and the synths take on a truly orchestral aspect. It’s not for nothing that the album is a full hour in length: everything here sounds (and feels) HUGE, one massive velvety purple landscape of stained-glass visions as far as the third eye can see. And all 12 tracks are threaded together in a plausibly cinematic manner; while each is mighty in its own respective right, VARGRAV sequence every song with artistic flair and high drama, concluding the immersive experience with a daresay-soulful guitar solo during the coda of “Creator of the True Realm” that then segues into the nearly-10-minute big-screen instrumental “Ghostlands.” What film or filmic realm one enters into (or leaves) is entirely up to the listener…The Nighthold is boundless!

Industrial

Gatefold Sleeve.

The names of the “9/11” hijackers are on the B side label.

Industrial

DLP containing all “Washington Buries Al Qaeda Leader At Sea”.

Black Metal

Sleeve printed on 300 gsm reverse side carton. Double sided insert printed on 140gsm offset paper.

Black Metal

“Venter på stormene” was recorded on eight analogue tracks in Red Cave between 2008 and 2011.

“Å stige blant stjerner” is dedicated to our brother in spirit, Steingrim Torson.
You never fell! We sing for eternity.

Includes a printed inner sleeve, a 16-page booklet and a poster.

Black Metal

“Venter på stormene” was recorded on eight analogue tracks in Red Cave between 2008 and 2011.

“Å stige blant stjerner” is dedicated to our brother in spirit, Steingrim Torson.
You never fell! We sing for eternity.

Includes a printed inner sleeve, a 16-page booklet and a poster.

RAC/Oi!

In 1988, “Forward Into War” was released on Herbert Egolt’s Cologne Rock-O-Rama Records label. The band originally started out as a four-piece in 1985, but then found their ideal line-up on their debut album with Tom (drums), Andy (guitar) and Vernon (bass, vocals).

On the “Forward Into War” album, Vengeance played a heavy metal-influenced sound, with an ingenious brutal voice and patriotic to nationalistic lyrics. The three British musicians created their own distinctive style, which is still unparalleled today and which, if you want, can easily be described as Oi!Core. All tracks are performed hard to brutal (with the exception of “Wake Up England”) and are of a high level. Unfortunately, singer Vernon, who was also responsible for the cover design, died in 2008. As they said, it was due to an incorrectly dosed medication. It’s always the same: Only the best die young!

Black Metal

This slab of occult metal has been conjured by the mind of Deathwalker (Nihil Invocation, USA) and derives its influence from bass-driven, black metal cults such as Barathrum, Ride for Revenge, Perverted Ceremony, Demoncy, etc. Originally a 1 piece project, Deathwalker has welcomed help from his homelands & Russian tundra along the path.

Tracks 1-6: “Witchdance Rising” demo (2019)
Tracks 7-11: “If None Will Call the Devil’s Blood…” demo (2019)

Black Metal

This project should be known for most underground fanatics out there. Finlands’s murky Black Metal Band Venus Star has released no less than four full length albums and several EP’s in the past, but this will be the first release out through Terratur Possessions.
The fifth full-lenght nods to old Beherit, Ride For Revenge and even Cultes Des Ghoules, without any of these aforementioned bands sounding exactly like Venus Star.

Black Metal

Venusberg Cardinal’s Atlas of Dungeons was recorded winter 2010—the same sessions as Departure Chandelier’s Antichrist Rise to Power and was intended as a brother project exploring medieval and ancient tortures depicted across such paintings as The Garden of Earthly Delights and the doom of pre-Raphaelite Greek mythology in what the band describes as “antique black metal.” Originally set for release as a cassette album, this has been pulled from the archives of Occult Antiquities and presented to judged souls now under the banner of NWN! Productions. Musically in line with French black metal influences, Atlas of Dungeons pays special tribute and honors the perverse satanic cruelty, in particular of Cantus Bestiae. Despite using the same 4-track, drums, and guitars as Departure Chandelier in the now fabled Prisoner’s Chant studio, listeners will find a pure minimalist black metal atmosphere devoid of synth with long, hypnotic instrumental passages—until the alarming and eerie outro that features the previously unknown electronic/ambient peripheral of Departure Chandelier…Coronation Prédateur. Welcome, sinners, to the world of Occult Antiquities and antique black metal!