On September 6th internationally, the alliance of NoEvDia and The Ajna Offensive is proud to present Aluk Todolo‘s highly anticipated fifth album, LUX.
Aluk Todolo returned to the studio during July 2023 to record their fifth album, entitled LUX, coming out eight years after their last opus, VOIX.
The LUX configuration has been received, decomposed, recomposed, sequenced, reversed, and is eventually revealed through six tracks of mesmerizing occult rock music.
Prismatic drum patterns entwined to gyrating bass lines and kaleidoscopic guitar ostinatos embodies in matter the numinous shimmers of light in extension.
An equation of Sacred Geometry solved and dissolved in mystery by illumination.
The tapes have been magnetized at Kerwax Analog Recording Studios in the western reaches of France.
LUX was recorded, mixed & mastered, and cut & pressed using analog technology exclusively.
In the meantime, see a full-length multi-cam recording here:
Aluk Todolo‘s performance at last year’s Rock in Bourlon fest, where LUX material was unveiled for the first time. Cover and tracklisting are as follows:
On September 13th internationally, EAL Productions is proud to present Aethyrick‘s highly anticipated fifth album, Death is Absent.
Aethyrick‘s longstanding partnership with The Sinister Flame ended when the label closed its doors for good. However, the flow of inspiration could not be halted, and the fervent work on the new album continued in the shadows. By the summer of 2024, the process was complete, and the duo found a new home abroad under the banner of EAL Productions.
Musically, Death is Absent builds on Aethyrick‘s signature style, pushing it further while occasionally increasing the tempo. Rooted in the melodic and atmospheric side of mid ’90s black metal, their music evokes a time when the genre first captured their imaginations. They craft a soundscape that is both familiar and fresh, embodying the mysteries of the existential nightside.
Revelations within both the sacred circle and the dreamlike realms have infused this offering with deep emotion, draped in the regal mantle of Finnish black metal. The lyrics acknowledge and honor the Reaper’s role as the extinguisher of mortal life, yet deny his authority over the flames of eternal faith.
Paths come to an end. Voices fall silent. Hearts cease to beat. But the song of Spirit continues, and thus, death is truly absent.
In the meantime, hear the brand-new track “Beyond All Death” here:
Cover and tracklisting is as follows:
Tracklisting for Aethyrick’s Death is Absent 1. The Fire that Sires the Sun [8:07] 2. Empyrean Silver [6:59] 3. Beyond All Death [5:27] 4. Midwinter Masks [5:59] 5. The Hands of Fate [8:15] 6. Only Junipers Grow on My Grave [7:59]
Drape yourself in the fury that only the gods of chaos could inspire because EIHWAR is about to blow your mind with their explosive re-imagined fan-favorite track, Berserkr (Viking War Trance Reforged). Straight out of Valhalla, this track is a relentless juggernaut that’s gonna have your blood pumping hotter than Thor’s hammer on a bad day.
Mark and Asrunn harnessed the unholy matrimony of ancient gods and techno rage to birth EIHWAR‘s debut album, Viking War Trance. If you’ve ever wondered what it’d feel like to be in a berserker rave under the Northern Lights, high-fiving Fenrir himself, this beast of a track gives you that raucous thrill without an ounce of mercy.
Grab your battle axes and brace yourselves because with this single comes an anarchic, electrifying live video. Mark and Asrunn, stripped raw and soaked in sweat, will take you on a journey straight from the heart of their primal rave temple. This band is truly something to be experience with a pint of the finest mead, chanting your heart out.
Watch the live video for Berserk(Viking War Trance Reforged) here:
Viking War Trance is out September 20 on Season of Mist.
Tracklist 1. Viking War Trance (4:30) [WATCH] 2. Ragnarök (Viking War Trance Reforged) (7:10) 3. Völva’s Chant (4:05) [WATCH] 4. Geri And Freki (4:21) 5. Baldr (4:08) 6. Fenrir (Viking War Trance Reforged) (5:13) 7. Berserkr (Viking War Trance Reforged) (4:04) [WATCH] 8. Mjölnir (5:25) 9. Sir Mannelig (1:54) Total runtime: 40:54
Many bands have explored the Pagan & Norse worlds over the last 15 years seeking atmospheric, acoustic and ritual sounds with great seriousness. This is not the path EIHWAR chose.
Although the musicians of Eihwar are virtuosos in their acoustic traditional instruments, their goal is to bring some fun… and as much chaos as possible during their concerts, provoking the craziest trance on dancefloors. They bring a festive and furious neo-viking music whose primal force is based on technoid machines, mixed with trance vocals, shamanic drums and traditional Nordic sounds. Electronics are a ‘new steel’ for those modern warriors, cold and powerful. As the web already says, the duo is a kind of new ‘Viking Carpenter Brut’.
Thus, Eihwar named the single, the album but also their style of music ‘Viking War Trance’.
“We are heavy drops of rain announcing lightning. We call for war: A war waged against our judgments, Our inner demons, our limits, Our stiffness of body and mind. We don’t want our best enemies to spare us Nor to be spared by those we love. We invoke a war for our thoughts, A flamboyant chaos of fire & ice, Cradle of creation.”
Since its appearance on YouTube in February 2023, Eihwar has shook the Internet and concert venues. The band experienced rapid expansion on YouTube and was quickly booked by major European festivals such as Hellfest, Leyendas del Rock, Wave Gotik Treffen & more to be announced!
Line-up Asrunn: Vocals, Traditional Percussions Mark – Vocals, Machines
Recording credits are being kept anonymous intentionally
Today, Amor Fati Productions announces October 4th as the international release date for Häxenzijrkell‘s highly anticipated third album, Portal, on CD and vinyl LP formats.
Ever since the release of their first demo tape back in 2016, Häxenzijrkell marched on their very own path towards the bottomless pit of darkness. However, it was the band’s two albums for Amor Fati – 2020’s Die Nachtseite and 2022’s Urgrund – where that bottomless pit dropped out completely. What opened up was a maw both majestic and horrific, ritualistic and ceremonial but by no means sound without purpose and intent. That each of those two albums were divided into three epic tracks was perhaps not coincidence; that one album was suffocating and the other more spacious was definitely not coincidence. From resolutely raw black metal in the beginning to something idiosyncratic and strangely spectral despite the obvious heft, Häxenzijrkell were skillfully creating their own soundworld with few present analogues.
And so it goes with the aptly titled Portal, where Häxenzijrkell bring past, present, and future into startling (dis)harmony. The album begins attackingly enough, a metronomic pendulum pulsing beyond control, riffs slicing and spiraling in an infinite vortex. But now expanded to five tracks across 44 minutes, Häxenzijrkell‘s third album reveals yet more depth – in all senses of the word – and becomes the fullest manifestation of their still-expanding lexicon. The watchword here is patience, as these five non-less-epic tracks are never in any hurry to reveal their true selves; tension and terror build s-l-o-w-l-y, even if the overall tempo is decidedly more energetic than past works, or at least more measured and insistent. Here expanded to a trio, Häxenzijrkell have also found a symbiosis between atmosphere and songcraft; even when riff and rhythm drop away and there’s (tense / terrifying) quietude lingering like a spectre, the usage feels dramatic and effortlessly transitional, marking a moment that’s integral to the flow of each mesmerizing movement. That that expanded lineup expertly uses both molten heaviness and shimmering ambience equally well should speak volumes about the band’s growth on Portal. All this culminates in the grandiose and hauntingly gorgeous closer, “Aeon,” which sounds like a lunar eclipse and a solar eclipse – simultaneously.
The keys are thus laid at the listener’s feet…do what thou wilt. To commemorate the release of Portal, Häxenzijrkell will embark upon a European tour with labelmates Nubivagant (dates after the jump).
In the meantime, hear the brand-new track “Atziluth” here:
On September 13th internationally, the alliance of NoEvDia and Oration Records is proud to present Vafurlogi‘s striking debut album, Í vökulli áþján.
Vafurlogi is rooted both spiritually and literally in the early 2000s black metal movement, as the earliest songs were written nearly 20 years ago. Like the stalwarts of that era, Vafurlogi draws inspiration not only from the staunch traditionalism of the ’90s but also from its rebellious spirit of discovery and creation.
Fronted by guitarist Þórir Garðarsson of Sinmara and Svartidauði, who now also takes on vocal and bass duties, Vafurlogi presents a new chapter for him as a songwriter. Throughout years of activity with his other bands, the essence of Vafurlogi slowly cultivated in parallel below the surface. Initially a vessel for accumulated works not suitable for Svartidauði or Sinmara, Vafurlogi developed into an avenue for him to freely explore different creative ideas and moods. While touching on the apocalyptic, nightmarish realms of Svartidauði and the haunting atmospherics of Sinmara, Vafurlogi places greater emphasis on triumphant and unabashedly melodic flourishes through a comparatively stripped-down compositional approach.
Full stream to be revealed on the day of release. Cover artwork, courtesy of View From The Coffin, and tracklisting are as follows:
Tracklisting for Vafurlogi’s Í vökulli áþján 1. Reikul Vofa 2. Viðjar Holdsins 3. Helgrindur 4. Dreyrrauði 5. Hvíldarsálmur 6. Iðrun Og Ótti 7. Úr Iðramyrkri 8. Duftið Eitt
On September 13th, W.T.C.Productions is proud to present Horna‘s highly anticipated 11th album, Nyx – Hymnejä Yölle, on CD, vinyl LP, and cassette tape formats.
Horna need no introduction. Formed in 1994 when they were but teenagers, the band soon began creating a vast, prolific catalog – and, since the early 2000s, began asserting considerable influence over the black metal underground both in their native Finland and abroad. And while there are three distinct eras of Horna – the Nazgul-fronted version during the late ’90s to early 2000s, then the feverish Corvus-fronted years from 2003 to 2009, and finally, the Spellgoth-fronted lineup that began the 2010s and which has seen a few lineup shifts but has patiently parceled out recordings ever since – stellar songwriting and impassioned playing have always been their hallmarks. Their sound may’ve undergone subtle shifts of texture throughout those many years, but Horna‘s vision of unapologetic BLACK METAL has never faltered: proud and pure, familiar yet unique, and undeniably eerie and emotive.
Fitting for their 30th anniversary, Horna now unveil a new full-length that bridges past, present, and future: Nyx – Hymnejä Yölle. While the preceding Kuoleman Kirjo challenged with its sheer length – then again, so did 1999’s classic Haudankylmyyden Mailla, which retroactively wielded influence on that album and this next one – it nevertheless comprised 13 mostly-compact rippers emblematic of the Spellgoth era: nightsky melodicism conjured forth by founding guitarist Shatraug and longstanding six-string foil Infection, with the new rhythm section of drummer LRH and bassist VnoM creating blistering speed that was somehow swinging. That lineup carries forward to Nyx, and largely does that songwriting schematic. But whereas its predecessor touched upon a moodier aspect, on Nyx do Horna expand upon that in conjunction with longer tracks; six songs in 44 minutes should be easy math for most people. However, the album’s structure is unique in that the first five tracks are Roman numeral variations of “Hymni,” and thus fit a framework of crisp, mystical black metal both nostalgically ancient yet somehow surprisingly “modern.” Then comes “Kuoleva Lupaus,” which features former bassist (and currently Kryptamok mainman) Hex Inferi. Solemn and stripped back unlike anything else in their extremely deep discography, this nine-minute closer is essentially neofolk, but unmistakably done the Horna way. A haunting end to a majestic catharsis…
Of especial note is the production across Nyx: arguably the “cleanest” production Horna have yet had, it only heightens said mysticism and adds a palatable sheen to these raging wraiths of song – the latent emotion brought to a boil, the hypnotism pulling heartstrings in magickal collusion. It speaks to the strength of their songwriting, once again, which somehow manages to become ever more focused yet varied as time marches on. And although nods to the Nazgul era are noticeable – the Corvus era stands cold ‘n’ alone in its righteous, ragged filth – this synthesis of peak performance and professionalism with spectral songwriting becomes its own new “era,” in effect. Or, simply, it’s Horna. Their legendry continues to be written…
In the meantime, see & hear the brand-new video “Hymni I” here:
Cover artwork, courtesy of Dhomth, and tracklisting are as follows:
Tracklisting for Horna’s Nyx – Hymnejä Yölle 1. Hymni I [8:46] 2. Hymni II [7:46] 3. Hymni III [6:08] 4. Hymni IV [7:32] 5. Hymni V [5:00] 6. Kuovela Lupaus [8:46]
Today, Amor Fati Productions announces October 4th as the international release date for Nubivagant‘s highly anticipated third album, The Blame Dagger, on CD and vinyl LP formats.
Black metal both traditional and transcendental – such is the mark of Nubivagant. Omega, the multi-instrumentalist behind the band, possesses the collective experience of over three decades in the black metal scene; he concurrently helms the well-respected Darvaza and plays drums Frostmoon Eclipse and Chaos Invocation, among many others in the past. However, with Nubivagant does he walk a unique path that takes a cleaner-toned timbre both in strings and voice, resulting in two equally awe-inspiring albums, 2020’s Roaring Eye and 2022’s The Wheel and the Universe. Once again under the auspices of Amor Fati, Omega delivers a new treatise on hypnotic sonic levitation: Nubivagant‘s The Blame Dagger.
The band’s first two records exhibited textures that could be qualified as calming, if not without a certain sturm und drang one finds when contemplating the ocean. Here on The Blame Dagger, Nubivagant bares open his soul once again, but in a manner much darker, both on the surface and well below it, and altogether in rougher fashion. One could call the songwriting “minimal is maximal” or simply primitive, but the sum effect is psychedelic to the extreme: one (BIG) idea is employed and then pushed further and further with subtle twists of nuance, the repetition resulting in mesmerizing movement that somehow evaporates time. Compared to its two predecessors, the tones utilized here seethe with tension and unease, if not somehow strangely soothing due to that ever-enveloping schematic; dirt and grit still coat everything, more so than ever. Likewise is Omega’s voice smoother yet darker, sounding less like a lost deathrock spectre of the first two LPs and more like an immortal prophet of doom perched upon a cliff overlooking said sea. Some might even qualify that as “doom” in terms of the metal subgenre, and they would not be totally incorrect; still, Omega’s wordplay and tastefully curious note choices put Nubivagant further into their own unique category. But with that (MESMERIZING) movement manifesting itself in an almost-relaxed way – again, almost doom in the very liberal sense – the ripples of emotion coursing through The Blame Dagger suggest resignation, a soul in sore need of rest, anxiously mindful of a dawn too dark to contemplate.
“Outsider black metal,” then, but without being mawkish or cloying: Nubivagant have completed a near-perfect trifecta of personal, poignant art no matter the nomenclature. To commemorate the release of The Blame Dagger, the band will embark upon a European tour with labelmates Häxenzijrkell (dates after the jump).
In the meantime, hear the brand-new track “Darkness Upon the Face of the Deep” here:
Cover and tracklisting are as follows:
Tracklisting for Nubivigant’s The Blame Dagger
1. Darkness Upon The Face Of The Deep [6:40] 2. Endless Mourning [6:17] 3. A Perfect Throne [5:38] 4. Who Made The World [7:28] 5. The Voice Of A Black Candle [4:32] 6. The Judgement [7:21]
Today, Hammer of Hate announces October 11th as the international release date for Barathrum‘s highly anticipated tenth album, Überkill, on CD and vinyl LP formats.
Barathrum should need no introduction. Formed in 1991, the band remain one of Finland’s very first black metal bands – and, more importantly, one of the longest-running. While Finland’s history of black metal often revolves around Beherit, Impaled Nazarene, and Archgoat during the ’90s and then Horna, Satanic Warmaster, and Behexen at the dawn of the millennium, during all this have Barathrum remained steadfast in their vision of bulldozing, bass-heavy black metal that indeed features TWO bass guitars. The band’s first two albums – Hailstorm and Eerie, both released in 1995 – remain absolute classics of dark & unsettling art, but thereafter did the band take on a rowdier, more concertedly METAL aspect that’s made that vision all the more unique and their legacy all the more enduring. And while they more or less went on hiatus following 2005’s Anno Aspera, Barathrum returned rougher and rowdier than ever with 2017’s gutted ‘n’ glorious Fanatiko.
Alas, seven years pass, but the Barathrum sound & vision are eternal, and they return to prove it once again with Überkill. Here, previous-bassist / now-guitarist Ruttokieli (also mainman of Sielunvihollinen and White Rune) composed all but one of the songs on this, amazingly the band’s tenth album; drummer Vendetta makes his composition debut with the telltale, scene-setting opener “Death by Steel.” As always, founding frontman Demonos Sova wrote all the lyrics, and his signature full-throated rasp leads with devilish glee these alternately stomping / surging anthems, all with equally telltale titles like “Mountain of Bones,” “Dark Sorceress,” “Black Magick Rites,” and perhaps best of all, “Spark Plugs of Purgatory.” And yet, for as much as Barathrum are very much (still) a pure & proud black metal band, Überkill proves that the Finns are, above all, a very great heavy metal band – just one that’s jet-black, asskicking, and bass-driven as fuck. Simple-yet-sublime pleasures, now and forever: again, Barathrum are eternal!
In the meantime, hear the brand-new track title track “Überkill” here:
Cover and tracklisting are as follows:
Tracklisting for Barathrum’s Überkill 1. Death by Steel 2. Mountain of Bones 3. Spark Plugs of Purgatory 4. Black Magick Rites 5. Ritual Murder 6. White Red Black and Pale 7. Denial of God 8. Dark Sorceress 9. Überkill
Today, Primitive Reaction announces October 11th as the international release date for The Mist From the Mountains‘ highly anticipated second album, Portal – The Gathering of Storms, on CD, vinyl LP, and cassette tape formats.
It was but the very beginning of 2022 when The Mist From the Mountains released their momentous debut album, Monumental – The Temple of Twilight, through Primitive Reaction. The record was presciently titled, too: hailing from the ever-fertile Finnish scene, The Mist From the Mountains were a brand-new formation with a very old heart, with their chilling-yet-breathtaking ruminations harkening to the golden days of melodic, nature-inspired black metal back during the mid ’90s. Names invoked included old Borknagar, Kvist, Old Man’s Child, Norway’s Gehenna, and even earliest Dimmu Borgir, but on the songwriting strength across Monumental, these still-young Finns were well on their way to forging an odyssey all their own.
Two years later, The Mist From the Mountains return to deliver the next awe-inspiring chapter of that saga. Titled Portal – The Gathering of Storms, the band’s second album is indeed the next part of a trilogy, but whereas the not-inconsiderable debut was but a mere 38 minutes, this second full-length is an epic near-hour of mesmerizing majesty, its golden rays stretching infinitely beyond the horizon – laced with black, of course. Truly, Portal‘s textures are equally summer and autumnal: the warm embrace of the sun, with the stern suggestion (or at least austere awareness of) the eventual cold, and of course those mossy, turn-to-brown sensations of fall’s inexorable transitions to darker, colder days.
But, that’s simply a surface sweep of The Mist From the Mountains‘ ever-growing sonic palette, for thematically, Portal is quite a different beast. A sea-themed album, the band explore its standing as untamed, dynamic force of nature that cannot be negotiated with: equally fierce, calm, and beautiful in all its inconsolability. As such, the Finns stretch their songwriting to more varied lengths; the melancholy and longing typical of Finnish music is fully accounted for, but there’s a pronounced emphasis on immediate(ly hummable) melodies, cleaner vocals, and more engaging downtempos. One could call it more accessible, and that one would not be totally wrong, but more so does Portal reveal The Mist From the Mountains as weavers of utterly cinematic soundscapes, of magick and wonder taking fuller flight (and hitting waterier depths) that put the band in league with the likes of Moonsorrow, and Borknagar. But, lest one think that this is a more “mainstream” move, the album is not without its share of blasting battle-rage, betraying a truly vast canvas that can now only be distinctly The Mist From the Mountains.
The sea is a portal to new worlds – and, in mythology, also to the afterlife. The Mist From the Mountains once again paint an absolutely poignant picture with Portal – The Gathering of Storms, and hereby cement their status as Finnish folkloric masters.
Hear for yourself with the brand-new track “The Seer of Ages” here:
Cover and tracklisting are as follows:
Tracklisting for The Mist From the Mountains’ Portal – The Gathering of Storms 1. And So Flew the Death Crow [10:11] 2. The Seer of Ages [7:59] 3. At the Roots of the Vile [8:38] 4. Among the Black Waves [10:43] 5. In Longing Times [8:19] 6. Saiva [10:28]
HEILUNG, renowned for transcending the mere boundaries of music to summon the primordial spirits, now gift the world their most sacred ritual yet: Lifa | Iotungard – their 2021 Red Rock ritual, capture in its full glory. Witness the fusion of earth, fire, voice, and bone as it was meant to be experienced – imperishable, visceral, and hauntingly real.
Gaze upon the enchanted footage today on the HEILUNG below. Let your senses be enveloped by the raw, unadulterated power of their live performance. These spells carry the essence of Traust and Svanrand, immortalized in moving images:
ᛁ – LIFA Iotungard is out today on Season of Mist.
HEILUNG don’t play shows. They perform a ritual. Every performance begins with Kai Uwe Faust leading Christopher Juul, Maria Franz and the rest of the Nordic collective in an ancient prayer. Soon after, the audience is swept into rapture, swayed by incense and throat singing, primordial rhythms, subtle electronic textures, a mesmerizing light show, an army of warriors and bursts of fire.
Since they began in 2015, Heilung have been paving melodic paths to the past with their unique and mystifying sound. Evading all conventional genre tags and the confines of any specific labels, the group aptly self-describes their sound as “amplified history,” emphasizing their ability to connect modern society with the rudiments of humanity’s beginnings through music.
“Our ancestral Nordic civilizations did not just pop up, exist and disappear in isolation”, says Faust, a throat singer and one of Heilung’s three composers. “With singing these primordial songs we want to give tribute to these cultures, reconnect to the beginnings and remember that we all, from East to West, from past to present, are connected through the exchange of ideas and inspiring each other”.
While Heilung features authentic and archaic instrumentation that ranges from rattles and ritual bells to human bones and throat singing, their captivating brand of music is far from primitive. Producer and founding member Christopher Juul implements subtle electronic elements that elevates the musical atmosphere and provides a more in-depth and layered soundscape.
Indeed, Heilung’s success has been unprecedented, achieving milestones in its few short years of existence that many do not see in a lifetime. The collective already had rapidly been growing a buzz upon the self-release of their first full-length Ofnir in 2015, but their dizzying upward trajectory really took off from the moment they set foot on the stage at Castlefest in 2017 for the now-legendary debut of their live ritual. Luckily for those who were not fortunate enough to bare witness to this magical event, the full ceremony was captured on film, having since been viewed by tens of millions of fans across the globe.
As Heilung trekked across Europe and brought their mystifying experience to new audiences, talk of this new band and their stunning ceremony made way to Season of Mist label owner Michael Berberian, who quickly offered the band a record contract after seeing their undeniable musical impact for himself.
By 2019, Heilung launched their second full-length record, Futha, which contrasted the masculine and battle-heavy themes of their debut with a feminine counterpart that celebrated fertility and female energy. Upon the first week of the record’s release, it graced the Billboard charts with coveted numbers, debuting at #3 on the Heatseekers Charts and #4 on the Billboard World Music Chart, placing on a total of seven Billboard charts while meeting critical-acclaim from the press on a global scale.
Their music has even appeared in places that extend far beyond typical concert venues. From hit television series like Game of Thrones and Vikings to video game giants like Conqueror’s Blade VII: “Wolves of Ragnarök and Senua’s Saga: Hellblade II to the blockbuster Robert Eggers film The Northman, Heilung’s music has risen far above the underground and has transcended into a greater world. Even a global pandemic couldn’t slow down Heilung’s success; it only strengthened them and gave them the gift of time to complete work on their third album. In English, Drif translates as “Gathering”. The music embodies this philosophy by tying together the beginning of civilization with today’s modern society.
Heilung now perform their rituals all over the world. They sold out their first North American tour in 72 hours. Upon returning to the United States in 2021, they were greeted by another sold-out crowd, this time at the historic Red Rocks Amphitheatre in Morrison, Colorado. This performance will be released on vinyl, CD and Blu-Ray in 2024, along with another performance at the Apollo Theatre in Hammersmith, London.
During the lead-up to the new LIFAs, Heilung will embark on headlining tours of Europe, Australia and New Zealand. Along the way, they will cast their spell over more of the world’s biggest stages, including Roskilde Festival, Download Festival and Glastonbury. But no matter where they are, Heilung always begin their performance with a humbling reminder of where we all come from.
“Remember, we are all brothers. All people, beasts, tree and stone and wind, we all descend from the one great being that was always there, before people lived and named it, before the first seed sprouted.”Line-up: Kai Uwe Faust Christopher Juul Maria Franz
