• In August 2021, Avant Garde collective THY CATAFALQUE took the stage for the very first time during the Fekete Zaj festival in Hungary. Mastermind and humble genius Tamás Kátai rallied 26 eclectic musicians to lend their talents toward performing 15 songs from Thy Catafalque’s expansive discography. This unique and mind-blowing performance was captured on film and will be available to the world via Blu-Ray!
  • The outlaws from down under deliver another pummeling and relentless lesson in aggression with full length number 6(66).
‘Never Surrender’ is a furious assault of black thrash, chainsaw riffs, and warlike drums, offering no moment of reprisal as it rages on for 40 unyielding minutes.
With this offering, Deströyer 666 takes no prisoners
  • Australian visionary Woods of Desolation returns with ‘The Falling Tide’, a bewitching crescendo of atmospheric black metal and post metal elements.
Unlike the act’s Australian contemporaries who are known for their raw, unrefined grit, Woods of Desolation takes a different approach, showcasing the genre’s beauty and elegance with their grand melodic passages and radiant aura.
  • Legendary Ukrainian black metal project Drudkh is ushering in the cold darkness and alluring decay of autumn with its brand-new offering, ‘All Belong to the Night’.
While the album is only four songs, it rages on for over 45 minutes, delivering an epic maelstrom of grandiose melodies, devastating aggression, and the cold atmospheric passages that have come to define Drudkh’s unmistakable sound.
  • South African band CONSTELLATIA takes an existential dive into human nature with their elegant and somber new album, ‘Magisterial Romance’.
In addition to its deep and thought-provoking lyrics, the band’s atmospheric and progressive brand of black metal encapsulates the spectrum of human emotions with its larger-than-life romantic compositions and soulful ambience, creating an offering that is just as powerful and beautiful as it is vulnerable and devastating.
  • During the turbulent and uncertain years of 2020-2021, perhaps none were plunged deeper into darkness than those from down under.
However, through solitude and desolation, some of the greatest art is created, as is the case with BLACK LAVA, the emerging blackened death metal quartet from Melbourne (AU). 
Founded by drummer Dan Presland (Vipassi, AMDBL, ex-Ne Obliviscaris) and guitarist Ben Boyle (Vipassi, AMDBL, Hadal Maw), BLACK LAVA draws influence from old school death and black metal bands while injecting groove-laden melodies and progressive elements to create their own experimental sound.
  • Originally a solo project by singer and multi-instrumentalist Will Hunter, Vévaki is a folk band which draws from Nordic heathenism and animistic traditions.
Myth, ritual and a connection with the natural world feed Vévaki’s music, which is both contemporary in sound and wide-ranging in instrumentation.
Vévaki’s second album, ‘Fórnspeki’, finds the band expanding upon their sound while staying true to their folk roots and traditions.
  • Nearly six years after ‘As Was’ made its mark, Black Anvil is returning with its aptly titled fifth full-length, ‘Regenesis’. With a new record label, a new album, and a newfound exploration of dark and black metal, ‘Regenesis’ represents a new dawn for the New York City collective. Make no mistake, ‘Regenesis’ is not a departure from Black Anvil’s identity, but rather serves as the latest progression in the band’s ever-evolving sound. The unrelenting and polished aggression hangs in the balance above dark melodic passages, presenting a dynamic soundscape that serves as the band’s most devastating and existential offering to date. This isn’t just black metal, this is NYBM.
  • OBSIDIOUS are leading the charge for the modern evolution of progressive and technical metal with their debut album, ‘Iconic’. Featuring Linus Klausenitzer (bass), Rafael Trujillo (guitars), Sebastian Lanser (drums), and vocalist Javi Perera (vocals), the band has distinguished and lettered origins in Obscura, Alkaloid, Eternity’s End, and Juggernaut. OBSIDIOUS, however, are a different creature entirely. ‘Iconic’ is technical but not officious, and the album breathes intensity but expands upon it with mellifluent dexterity. With OBSIDIOUS, there’s always a hook: ‘Iconic’ may build upon a prestigious foundation but its vision isn’t restricted to its tenets.
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