Cerca:doom

Janaka Stucky is a poet, performer, and author of two poetry collections published by Third Man Books & Records. Janaka’s poems are at once incantatory, mystic, and epigrammatic.

His esoteric & occult influences, combined with a mesmeric approach to performance, create an almost ecstatic presence on stage. Of his live shows, VICE writes, “Janaka Stucky performs poetry readings like he's part fire-and-brimstone preacher, part doom-metal frontman … For him, lighting incense, dropping acid, and creating some of the most ecstatic lines of verse you’ve ever read is just another day at the office.”

Praised by Jimmy Page as “riveting,” Janaka Stucky’s book length poem, Ascend Ascend, published by Jack White’s Third Man Books in 2019, gets a mesmerizing treatment on this album by the same name, accompanied by experimental cellist Lori Goldston. Goldston, known for her work with a number of acts—including Nirvana, Cat Power, and Earth—provides otherworldly layers of distortion and natural reverb over Stucky’s dirge-like vocal performance.
Recorded at the All Pilgrims Church in Seattle while Stucky was on a 7-city tour produced by Atlas Obscura in 2019, the performance is served well by the room’s ambiance and was recorded, mixed, and mastered by Mell Dettmer—who has engineered albums for acts such as Earth, Sunn O))), Master Musicians of Bukkake, and Wolves in the Throne Room.

Before MF DOOM donned his mask and became one of the most prolific MC-producers of modern Hip-Hop, he was a member of KMD, an early ‘90s rap group whose work still goes criminally under-appreciated to this day.

Following their 1991 debut album, Mr. Hood, the former trio shed one member leaving only two remaining – Subroc and his brother, Zev Love X (better known today as MF DOOM). Originally scheduled for release in 1994, their sophomore album Black Bastards showed clear progression from their debut. It was a truly amazing record, both sonically and lyrically, full of youthful creativity and tinged with the stresses of growing up as Black men in urban America. Songs like the lead single “What A N*gga Know”, the slippery, bass-driven “Get U Now”, and the album’s title track explore Black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw – many times both, concurrently – the tracks gave the MC’s the springboard they needed to express themselves clearly.

Sadly, Subroc would face a sudden and untimely death in 1993, just as the duo were finishing the album. Grief-stricken, his brother Zev Love X – now the sole remaining member of the group – was determined to carry the legacy of KMD onward, but Elektra Records unceremoniously shelved the project in the eleventh hour, due to controversy surrounding the album’s provocative cover art. Following the fallout with Elektra, Zev tried for years to release the album on other labels, but he was continually met with dead ends. Struggling through the pain of losing his brother, coupled with the inability to release their final project together, a discouraged Zev Love X quietly withdrew from the scene and began quietly plotting his revenge on an industry that had broken him spiritually. Thus, in order to understand the true origin story of the super-villain, MF DOOM, one must recognize and appreciate the evolution of his former group, KMD, and the backstory of their pivotal album, Black Bastards.

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

German cult band "Bohren & der Club of Gore" release their eigth studio album via 'PIAS Recordings'. The band have built a loyal international fanbase on the back of their trademark ‘Doom Jazz’ sound and count musical icons such as Mike Patton and Stephen O’Malley among their fans. Strictly instrumental, this band and their sound have the healing power to survive these hectic modern times. For fans of Melanie de Biasio, Sunn O)))' and the soundtracks of David Lynch. The band played two sold out shows in London’s Round Chapel recently and will tour the UK again in 2020.

'PIASD5045LP' pressed & designed on 2x12" Gatefold Coloured Vinyl.

Copenhagen’s Echocord welcomes YWF onto its roster this June with the ‘Replaced’ EP, backed with remixes from Berlin’s Freund Der Familie. YWF is a Copenhagen based Techno producer and DJ, most notably known for his output on the Freund Der Familie imprint, the founders of which step in to remix his work here, and Baum Records, the label run by Resoe, a good friend of Echocord label boss Kenneth Christiansen and with whom he forms the group Pattern Repeat. It seems it was only a matter of time before YWF became a part of the family. Title-cut ‘Replaced’ opens the package via a sturdy rhythmic foundation, wandering synth licks and winding modulations before ‘All Is Temporary’ embraces a cinematic aesthetic, edging in elongated sub drones, emotive strings and delayed percussive hits. Freund Der Familie take control on the latter half of the package, delivering two interpreations of ‘Cutoff’, first up is ‘Fdf’s Reshape’, employing an airy asmtopheric feel amongst fluttering low-end and dustry drums while the ‘Days Of Doom Remix’, as the name would suggest takes a darker approach, laying focus on menacing bass, expansive delays and menacing voices alongside heartbeat like pulses of low-end drums.

Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. "Lotta niggas go to prison," Dice Raw states on "Tip the Scale", "how many come out Malcolm X?"

So the Roots' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down. It's a character study of a man whose existential crisis ends only with his death-- a death gone largely unspecified, the glamor and tragedy washed over with a doomed resignation. That's a hard thing to pull off, even for a band as given to deep-thinking concepts as the Roots are. And when your main lyrical catalyst is Black Thought-- a man more given to allusions than direct statements-- it's likely that it'll take a while for the full scope of Undun to really sink in.

If and when it does, it might strike listeners as a bit skeletal: omit the mood-setting instrumental bookends, including a brief, four-part orchestral suite that builds off Sufjan Stevens' "Redford (For Yia-Yia and Pappou)", and you've got maybe a half hour's worth of material. By ?uestlove's accounts, writing Redford's story introduced the headaches and challenges that come with scriptwriting into their songwriting, and what's left on Undun is the end result of frequent revisions and rewrites that attempt to reconcile character, theme, and continuity. If it comes at the expense of nuance, it's not always obvious: There's an easy-to-trace narrative line from Redford's acceptance of his fate ("Sleep") to his acknowledgement of how close it's approaching ("Make My"), back through declarations of aggravated toughness ("One Time"), and celebratory fatalism ("Kool On"), along ups and downs that juxtapose motivation ("Stomp") and helplessness ("Lighthouse"). When the vocal portion of the album ends with two of the bleakest sets of verses in the Roots discography, peaking with the estrangement of "I Remember" and the desperation of "Tip the Scale", Undun reveals itself as a story where a man's actual death isn't quite as tragic as the circumstances that pushed him to it.

Necropalace ist eine düstere, doomlastige Reise ins Schreckliche und Romantische, heraufbeschworen vom sich ständig weiterentwickelnden vampirischen Wesen WORM. WORM schrieb sein erstes Kapitel mit Veröffentlichungen wie "Foreverglade" aus dem Jahr 2021 und dem Split-Album "Starpath" mit Dream Unending aus dem Jahr 2023 (beide erschienen bei 20 Buck Spin). Diese Vision erweckte WORM zusammen mit Hulder, Devil Master, Gatecreeper und Frozen Soul auf der Decibel Tour 2023 auf der Bühne zum Leben. Dabei verkörperte WORM den Sound der Dunkelheit mit einem außergewöhnlichen Sinn für Ambition.
Gemischt von Arthur Rizk (Blood Incantation, Power Trip) und mit dem gefeierten Gitarrenvirtuosen Marty Friedman auf dem letzten Track des Albums "Witchmoon" ist "Necropalace" die bisher reinste Destillation von WORMs selbsternanntem "Nekromantic Black Doom", dargestellt in blutbeflecktem Technicolor. Ein cineastisches, unvergessliches Meisterwerk des modernen Metal.

Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Classic black vinyl, 2LP, gatefold sleeve.

Oxblood Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018

Grünes Vinyl, limitiert auf 200 Exemplare. Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Green coloured vinyl, 2LP, gatefold sleeve.

Neuauflage von Kadavars Album "Live in Antwerp", das ursprünglich 2014 veröffentlicht wurde! ,Live in Antwerp" ist ein Konzertmitschnitt der Hardrock Stoner Kadavar, das 2014 bei Nuclear Blast erschienen ist. Es war ihr erstes Live-Album und insgesamt viertes. Die Platte enthält Live-Versionen von elf Titeln, die ursprünglich auf den Studioalben ,Kadavar" und ,Abra Kadavar" erschienen sind und im November 2013 im Trix in Antwerpen, Belgien, aufgeführt und aufgenommen wurden. "Kadavar are a great live band and Live In Antwerp is a noble testament to that fact." - The Sleeping Shaman 2014 - Lineup: Lupus Lindemann - Guitar /Vocals - Christoph Tiger Bartelt - Drums - Simon Dragon Bouteloup - Bass - Shazzula Vultura - Theremin - Classic black vinyl, 2LP, gatefold sleeve.

Weiß/orange/schwarzes A/B Splatter Vinyl. Neuauflage von Kadavars Live-Album "Live in Copenhagen", das ursprünglich 2017 veröffentlicht wurde (Nuclear Blast). Das Album enthält KADAVARs berüchtigten Auftritt im Pumpehuset in der dänischen Hauptstadt im November 2017 während der Tournee zu ihrem Album ,Rough Times". Hier zeichnen Kadavar am 9. November 2017 das zweite Live-Album ihrer achtjährigen Karriere auf. Die Frage, wieso die Band so viele Konzerte offiziell für die Nachwelt festgehalten hat, erübrigt sich schnell: Erst live entfalten ihre Songs jene Wucht, die selbst die besten ihrer Studioaufnahmen nicht einfangen können . "Live In Copenhagen" ist klar und fokusiert, aber nicht steril gemischt, mit Stücken aus allen bis dato erschienenen Studioalben. "Überragendes Livedokument einer überragenden Band". - Time For Metal 2018 Ltd Splattervinyl, 2LP, gatefold sleeve.

Baptized with a name derived from astrophysical theories about dark matter and black holes, THE HOLEUM was formed in 2014 in Alicante, Spain. Founded by former members of NahemaH, Demised, quantumXperience, Hela, Neptunian Sun, and Priest of Dawn, the quintet set out to push the boundaries of heavy music and to intensify the emotional impact of darkness in sound. Their concept is both cosmic and sonic: “THE HOLEUM is related to the dark matter that forms the black holes in the universe. THE HOLEUM is not a black hole, but black holes are formed by The Holeum. That is the idea from which we extract our concept – we are a sonic and cosmic vision of the sublime.” With their third album “Ensis” (2025), the band continues its journey through experimental metal, death doom, melodic metal, and post-metal. This work is more than a continuation – it is a condensation and expansion of their previous soundscape. “Ensis” reveals itself as finely nuanced, challenging, yet at the same time profoundly sensitive and multifaceted. The songs unfold like cosmic landscapes where heaviness and melancholy meet subtle emotionality. The intensity remains palpable, but it is complemented by a deeper sensitivity that draws the listener into a fragile balance between harshness and delicacy. “Ensis” is an album that demands and touches at once – a work that makes the complexity of human existence audible in the mirror of the universe.

New “Inversions” of drone rock pioneers Earth’s debut release. A collaboration between Dylan Carlson and Black Noi$e (Armand Hammer, Danny Brown, Earl Sweatshirt) formed in mutual respect and appreciation for one another. Both artists were intrigued by the creation of vast musical landscapes and the connection of music, with its ability to transport the listener. The music of Earth was recognised and celebrated for moving at a glacial pace and yet this new collaboration surprisingly saw Black Noi$e slowing things down even further.
The debut, which originally came out in 1991, notably featured Kelly Canary and Kurt Cobain on vocals on the tracks “A Bureaucratic Desire for Revenge Part 2” and “Divine and Bright”. Black Noi$e reimagines the original recordings with his experimental sensibility and innovative multi-instrumental, cross genre exploration. Applying contemporary electronics to the heavy droning bass and guitars and languid rhythms, this inversion oscillates and reverberates with a different kind of energy whilst simultaneously highlighting the much loved low slow and distorted properties of the original.

‘Extra Capsular Extraction’ was the first music Dylan made with Earth and his first time in a recording studio, which he recalls at the time as being “terribly exciting”. It also marked the first time collaborating with others and seeing it reified into a tangible object or product, a spirit that Dylan has carried through to the present. The original album is a document of a specific period and Dylan’s creative development. These inversions of Extra Capsular Extraction are, to quote Dylan, “an exciting way to reintegrate them into the present time and with my more expanded conceptions of musical endeavours”.
"Doom-metal innovators" Pitchfork.

"With guitars ramped up to the nth degree, but tuned to gut-wrenchingly low frequencies, Earth carved out a veritable canyon of pure molten drone, one which would have a profound influence on modern metal music." The Quietus

For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

A companion piece to the album, Right Now!, this collection contains additional recordings from those sessions, as well as remixes and reimaginings of songs from Right Now! All songs, except for “Reap What You Sow,” have never been released. The psychedelic improv supergroup featuring Dave Alvin and Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids), David Immerglück (Counting Crows, John Hiatt, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale), and singer/songwriter Jesse Sykes (Jesse Sykes & The Sweeter Hereafter) continues to defy expectations and genre on Spellbinder!

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

"""Sam Salmon & the Grand Manan Bandits is a bare-bones country band made up of beloved Canadian alt-rock band Motherhood and “delta doom” guitarist Keith Hallett (Echodelick Records)

DOWN FOR LIFE features foot-stompin’ tracks like “No One Likes Losing,"""""""" a self-deprecating look at being competitive yet never managing to get ahead, “Waste Your Time,” about the confusion of suddenly losing someone you love, as well as a reflection on familial personality traits, and “If I Needed You Now,” showcasing country music at its finest - three chords and the truth. Or, in this case, two chords.

Sam Salmon & the Grand Manan Bandits features Penelope Stevens (bass/vocals), Brydon Crain (vocals/guitar), Keith Hallet (lead guitar, console steel), and Adam Sipkema (drums).

DOWN FOR LIFE also marks a trifecta of releases this year from Motherhood Music Inc., following the band’s “wildly entertaining!” (Bandcamp) fifth album Thunder Perfect Mind and side-project Penny & the Pits’ “delicate and
demanding” (LOUD Women) debut Liquid Compactor."""

Reflective of their mood and expression, The Black Crowes have created a rock record that's loose and funky, dark and heavy, sensuous and jagged, Flesh and bone...A pound of feathers . Or a pound of lead Look out below and mind your head.

Hailed as one of the US's most exciting and provocative new bands, Prostitute's bracing debut Attempted Martyr finally sees its official worldwide release on Mute.?

Emerging out of Dearborn, Michigan, this five-piece deal in pure chaos and catharsis - fiery live shows, razor-sharp intensity, and a sound that's as incendiary as it is brutally tight. Their name reflects their fixation on identity, desperation, and survival under late capitalism.

Attempted Martyr was written in the midst of global and personal turmoil, capturing the zeitgeist of a world unraveling. A loose concept record, it chronicles the rise and fall of a doomed zealot whose pursuit of holy vengeance spirals into a psychotic orgy of violence, greed, and lust. It's dense, turbulent, and charged with blaring Middle Eastern, African and East Asian influences - all scorched into shape by producer Chris Koltay (The Armed, Mdou Moctar).

With mounting online buzz, critical acclaim and a run of sold-out bootleg editions, Prostitute's debut continues to gain momentum - now available on red viny

Nach dem großen Erfolg des Comeback-Albums "IDAG" aus dem Jahr 2025 kehrt die legendäre schwedische Heavy-Rock-Band Witchcraft mit einem eindrucksvollen und intimen neuen Kapitel zurück, das den Titel "A Sinner's Child" trägt. Gründer, Sänger und Visionär Magnus Pelander reduziert den Sound auf dieser neuen 5-Track-EP auf seine reine Seele. Zwischen der melodischen Proto-Doom-Tiefe von ,Drömmen Om Död Och Förruttnelse" und ,Själen Reser Sig", über den leuchtenden Folk der Lead-Single ,A Sinner's Child" und deren Fortsetzung ,Sinner's Clear Confusion" bis hin zum gefühlvollen akustischen Klagelied ,Even Darker Days", bewegen sich diese Songs, welche von dem Multi-Instrumentalisten aus einem persönlicheren, unmittelbareren Ansatz heraus gedacht wurden. Die Songs präsentieren Pelanders Songwriting in seiner bewegendsten und verletzlichsten Form - ein direkter Zugang zu den eindringlichen Melodien und der emotionalen Tiefe, die das Vermächtnis von Witchcraft seit über zwei Jahrzehnten prägen. Sie sind Beleg für die zeitlose Kraft einer Stimme, einer Melodie und der Rohstoffe des Rock, destilliert zu ihrer Essenz - ein starker Epilog zu "IDAG". CD sowie LP erhältlich

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

The Delines were finishing the "Mr. Luck & Ms. Doom" sessions when Willy brought in a tune called "Walking With His Sleeves Down". Vocalist Amy Boone learned it on piano and the Band recorded it live. The take was stunning but the song didn"t quite fit the record so they set it aside along with "The Reckless Life", "Dilaudid Diane" (featured in their recent encores) and "Jumping off in Madras". The song worked sonically but again didn"t feel quite right lyrically and when they finished the record Willy couldn"t stop writing songs for it. The US opioid epidemic with thousands of young people rattled with addiction and living in tents and on the streets and in old cars and RVs, influenced "Luck and Doom" but even more so with The Set Up. Their stalwart producer, John Morgan Askew, was at the helm again and he"s the king of building atmospheric worlds. You can really feel it on this one. By the time we finished they realized "The Set Up" was the wayward, misguided, and lonely sister to "Mr. Luck & Ms. Doom". More ragged and undone but all CinemaScope Delines.

Norwegian hard rock band Gjenferd returns with their second album, Black Smoke Rising. Black Smoke Rising takes the band to a new level, building on the strengths of their debut while pushing the sound in a more direct and accessible direction. The album delivers stronger songs, sharper hooks and a tighter overall approach, without losing the darker edge that has defined Gjenferd from the start. Guitars and organ are at the core of the sound, driving solid riffs and catchy vocal lines with a clear pop sensibility beneath the heaviness. The band's debut album received strong reviews both nationally and internationally, including 4. place on Doom Charts in May 2024. Gjenferd draws inspiration from classic heavy rock acts such as Black Sabbath and Deep Purple, combined with a modern hard rock approach influenced by Ghost and Hällas. They're known for energetic live performances, including appearances at festivals such as Desertfest Oslo.

-Boxset mit vier Alben featuring Drummer Neudi (u.a. Manilla Road, Trance, Griffin, Savage Grace…)

- Limited Edition mit handsignierter Autogrammkarte

Schon mit 8 Jahren entdeckte Andreas Neuderth, der seit Mitte der Achtziger nur noch den Spitzname NEUDI benutzt, sein Talent für das Schlagzeug. Sogar bereits schon etwas früher wurde er zum Fan harter
Rockklänge, die üblichen Verdächtigen wie Kiss, Status Quo und Rush. Mit 15 Jahren, im Jahr 1986, taucht sein Drumming erstmals auf einem Tape der Band SUDDEN DARKNESS auf, was 2026 zu einem Jubiläumsjahr für
den heute in Rheinhessen lebenden Musiker darstellt. Seine bekanntesten Stationen sind neben MANILLA ROAD (2011 bis zum Tod von Mark Shelton im Jahr 2018) und SAVAGE GRACE (2009/2010) aktuell TRANCE,
ROXXCALIBUR, ANGEL OF DAMNATION, IRONSWORD, JAMESON RAID und die Manilla Road-Nachfolgeband SENTRY. Das 1994er ECONOMIST Album „New Built Ghetto Status“ bezeichnet Neudi trotz all diesen genannten Namen als „eines der drei besten Alben, auf denen ich zu hören bin“. In der Tat darf man getrost sagen, dass es den Stil von ECONOMIST wohl nur einmal gibt. 1995 wurde die CD von Massacre/Intercord lizensiert, doch
mit dem progressiven Stil war man seiner Zeit einfach zu weit voraus.

Als Reissue, erstmals als Doppel LP mit dem unveröffentlichten zweiten Album „Mind Movies“ erschienen, erntete man nun endlich die verdient euphorischen Kritiken. VIRON (2004/2006 und 2008) war nach einer Zeit
der Experimente Neudis Rückkehr zum traditionellen Metal, den er als Fan auch zuvor nie verlassen hat. Die zwei hochgelobten Alben waren indirekt der Vorgänger der erfolgreicheren Band ROXXCALIBUR. SCROLLKEEPER
ist eine Band aus Texas, die für ihre EP „Wetico“ als Manilla Road-Fans mit Neudi zusammenarbeiten wollten. Neudi ist bekannt für sein „busy drumming“. Beeinflusst von Neil Peart (Rush), Randy Foxe (Manilla Road) oder Ian Paice (Deep Purple) bietet er nicht nur die genreübliche Rhythmusarbeit „im Hintergrund“, sondern bringt das Instrument teils auffällig in den Vordergrund. (Infotext von Michael Gresner, Januar 2026)

With their latest body of work, Desert Storm carve out a sound that is as primal as it is progressive-melding sludge, doom, and heavy metal weight with moments of softness, space, and surprising vulnerability. Across these tracks, the band summon the wilderness, ceremony, and chaos of the human condition, pushing their sound into new territories while staying true to their instinct for heaviness.

Gold Nugget vinyl, limited to 400 copies. With their latest body of work, Desert Storm carve out a sound that is as primal as it is progressive-melding sludge, doom, and heavy metal weight with moments of softness, space, and surprising vulnerability. Across these tracks, the band summon the wilderness, ceremony, and chaos of the human condition, pushing their sound into new territories while staying true to their instinct for heaviness.