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Merging old and new with a captivating mix of atmospheric Metal and Folk!\u003c\/p\u003e\n\u003cp\u003eSweden’s elemental force Vintersorg returns with their new album “Vattenkrafternas Spel”! “Vattenkrafternas Spel” merging old and new with a captivating mix of atmospheric Black Metal and Folk! It doesn’t just retrace old steps... it digs deeper! This is not the “let’s drink ale in the woods” version of Folk Metal, Vintersorg deals in frostbitten grandeur and soaring melancholy.\u003c\/p\u003e\n\u003cp\u003eAs always, Andreas Hedlund (aka mr. Vintersorg himself) leads the charge, balancing razor-edged riffing with layered clean vocals, icy shrieks, and a knack for songwriting that’s as cinematic as it is punishing. There’s no scientific concept this time around, no tangled progressive detours, just full immersion in atmosphere, feeling, and elemental force. 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A real gem of epic Swedish Viking Metal!\u003c\/p\u003e\n\u003cp\u003eAs someone who listens to Metal albums on a daily basis, as well as being a Metal fan for well over 40 years, there are many great Metal albums out there. But sometimes an album comes along that changes how we look at Metal. We are not sure if that was Andreas “Vintersorg” Hedlund‘s intention when he wrote his debut full length, “Till Fjälls”, but that is exactly what this album did. His intention was to create a sound that was Black Metal based but also focusing more on clean vocals and adding more traditional Swedish folk elements to the that base. He inadvertently patented a new sound and sub-genre.\u003c\/p\u003e\n\u003cp\u003eThe album opens with, “Rundans,” which is basically an intro, being part acoustic and part electric. Keyboards take the place of what sounds like wind instruments. “For kung och fosterland,” follows as the first proper song, opening with speed and fury there are tremolo riffs and grim vocals but they lead to a much more melodic approach with the clean vocals taking over. Vintersorg sings here in a low baritone which became his trademark. But it is the way he used those melodies intertwined with the heavier more Black Metal oriented sounds was new and nothing like it existed before.\u003c\/p\u003e\n\u003cp\u003eBut what the real magic here is the entire package. Songs about that show how ancient paganism was so rooted in the actual forces of nature; while done so in his own language over top this epic Metal music that was all new.\u003c\/p\u003e\n\u003cp\u003eFrom the cold of Norrland this album manages to take the cold and grim and add some warmth and emotion. This masterpiece was just the first in a string of absolutely brilliant albums from this incredible talented artist. After 27 years this album still resonated with me the same as it did when I first heard it. 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One of the best Folk Metal ever made!\u003c\/p\u003e\n\u003cp\u003e“Ödemarkens Son” (translates as “Son of the Wilderness”), the second full length from the Swedish band Vintersorg is unique Black\/Folk Metal release. Generally speaking, this is not the ‘happy dancing’ Folk Metal like Korpiklaani, Finntroll or the likes, this is mournful\/blackened Folk Metal, with very poetic and sorrowful lyrics, more on the side of old Ulver, but still is something very different from any released before.\u003c\/p\u003e\n\u003cp\u003eOn this album, Vintersorg deals with old Scandinavian tales, pagan themes and his impression of Nature. Lyrically this is the most personal work of Vintersorg where, using the aforementioned elements, he expresses his own feelings.\u003c\/p\u003e\n\u003cp\u003eMusically, this is what everyting one could expect from a really amazing Folk Metal album. The album is very melodic, using a lot of acoustic guitars, most of the time the guitars (acoustic and distorted ones) are doing different things, complementing each other perfectly, also still there is a good amount of catchiness, specially on the choruses, but not the ‘let’s drink another beer’ kind of, more majestic, epic yet woeful ones. Also there is an unusual high amount of riffs and rhythm changes on each song, not allowing the music fall on tediousness and unnecessary repetitions.\u003c\/p\u003e\n\u003cp\u003eVintersorg sings with full emotion. His voice has an inner strength, self-confidence and epic feel that captivate the listener instantly, leaving the instrumental section sometimes on the background.\u003c\/p\u003e\n\u003cp\u003eAbout the song themselves...there’s no filler here. Almost all songs change a lot nicely and switch smoothly from folk acoustic passages to fast black metal moments, carrying the listener through the atmosphere and preparing him to the climax moments on every song. 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Remastered and finally available again.\u003c\/p\u003e\n\u003cp\u003eIn progressive music circles, the genre of Black Metal sometimes seemed to get a treatment as if it is was plague-like. Even a lot of Metalheads themselves cannot bring themselves to develop a taste for it, although diehard fans of the genre swear it is one of the most atmospheric and emotive styles of music in existence to date.\u003c\/p\u003e\n\u003cp\u003eWith Vintersorg’s “Cosmic Genesis” it appears as if there is a perfect album for those who are not too much into Black\/Pagan Metal (or other extreme forms) but are interested to look into it. Strong melodies and intelligent instrumentation mixed with some more primal, heavy sounding riffs make for a very well-rounded Metal album that a much wider variety of listeners should find appreciation for.\u003c\/p\u003e\n\u003cp\u003eOne of the biggest points of contention people seem to have with Black Metal are the high-pitched screams which dominate and help define the genre. While these are indeed present in “Cosmic Genesis”, the main form of vocal delivery rests on the deep and strong clean singing of Andreas Hedlund, at times verging on being operatic in nature. Strong melodies and some rocking guitar riffs are the order of the day for this classic Vintersorg album. A special track worth mentioning here is a great cover of the Uriah Heep track “Rainbow Demon”, which is performed in great Vintersorg style (and has a strong medieval- sounding intro). The album is full of great Black\/Folk Metal tracks, although the highlights would undeniably include the opener (‘Astral \u0026amp; Arcane,’) the title track, and the powerful ballad ‘The Enigmatic Spirit,’ which should convince anyone to check out this album after hearing it. 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Shortly thereafter, with one of their many drummers, Impurity recorded their first demo “Forever Lifeless” in September 2022, at Studio Pulverisa.\u003c\/p\u003e\n\u003cp\u003eAfter the release of “Forever Lifeless”, Impurity went on to play multiple shows throughout Sweden, primarily in their hometown of Stockholm. During this time, Impurity entered the studio in March of 2024, to record their debut album “The Eternal Sleep” at Sunlight Studio. With Tomas Skogsberg’s production and Dan Swanö’s mastering work, they brought back a sound of Swedish Death Metal thought to be extinct. Incorporating the styles of bands such as Evocation, Eucharist, God Macabre and many more, their debut release will ensure an album that recalls memories of the forlorn underground scene in Sweden.\u003c\/p\u003e\n\u003cp\u003eSigning with Hammerheart Records in September 2024 to release this debut, Impurity’s founding members, Esbjörn, Curcic, and Ask are set to push the boundaries further, aiming to challenge and redefine modern Death Metal with their relentless sound.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Denial of Clarity\u003cbr\u003e2. Tribute to Creation\u003cbr\u003e3. Ancient Remains\u003cbr\u003e4. Life of Horrors\u003cbr\u003e5. Lament to the Lost One\u003cbr\u003e6. Pilgrimage to Utumno\u003cbr\u003e7. Rectifying Pieces\u003cbr\u003e8. Mourningside\u003cbr\u003e9. The Eternal Sleep\u003cbr\u003e10. 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The story is thus: a Canadian Thrash band in the three-letter tradition of D.R.I. and C.O.C. is forced apparently by an unusually harsh winter into its practice space for an extended stay, and emerges with new instrumental prowess.\u003c\/p\u003e\n\u003cp\u003eA lot of the speed\/Thrashing bashers (Destruction, Deathrow, Living Death, Voivod, etc.) from the mid-80’s stopped to look around at some stage, asking themselves whether they really liked this interesting primal noise they were producing or if they were actually capable of creating much more engaging and challenging music. Our “brain donors” here were one of them. It’s not that their energetic, uplifting Thrash\/crossover debut was a weak effort by any means; it’s just that they knew they could do more within the metal boundaries, and contribute more fully to the overall expansion of the Universe.\u003c\/p\u003e\n\u003cp\u003eThe word “auteurs” simply begs to be used here to describe the unique approach to music applied on this “universal” opus. In a manner quite reminiscent of Voivod’s last two (at the time) the delivery transcends the borders of Thrash and embarks on a journey around the progressive metal kaleidoscope without following any rigid canons. The experimentation is not as ostentatious as the one on the works of their compatriots as Thrash is still featured prominently giving a nice dynamic flavour to the complex mosaics, a more belligerent edge. The Thrash Metal fanbase would still be bemused by what the guys had cooked here, but bewildered faces would be more than just an isolated phenomenon in the crowd. On the other hand, one won’t get tired of it as the whole panorama clocks on under 40-min, and everything flows quite smoothly and effortlessly, with a weird airy spaced-out feel.\u003c\/p\u003e\n\u003cp\u003eMentioning spacing out, there was by all means more room for more eccentricity and eclecticism to be applied to this exciting amorphous musical formula, but while the audience were anticipating the band’s version of “Nothingface” or “No More Color”, they announced the end of their spell with the music industry\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Genesis Explosion\u003c\/li\u003e\n\u003cli\u003eHeliosphere\u003c\/li\u003e\n\u003cli\u003ePrimordium\u003c\/li\u003e\n\u003cli\u003eExit the Giants\u003c\/li\u003e\n\u003cli\u003eRise of Man\u003c\/li\u003e\n\u003cli\u003eEstuary\u003c\/li\u003e\n\u003cli\u003eHumanity’s Child\u003c\/li\u003e\n\u003cli\u003ePhobos and Deimos\u003c\/li\u003e\n\u003cli\u003eThreshold\u003c\/li\u003e\n\u003cli\u003eInfinite Universe\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"D.B.C.","offers":[{"title":"Default Title","offer_id":46904960057564,"sku":"693068","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0745\/4123\/6444\/files\/3d397d467201564a0c1b0381cdaf840e.jpg?v=1757382477"},{"product_id":"d-b-c-dead-brain-cells-cd","title":"D.B.C. - Dead Brain Cells \/ CD","description":"\u003cp\u003e\u003cstrong\u003eTHIS IS A PRE-ORDER PRODUCT AND WILL SHIP OUT ON\/AROUND November 11th 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eIf you have pre-order items in your cart, your entire order will ship when all items are ready to ship \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eRaw and intense Crossover infused Thrash Metal from 1987 that any 80’s Thrasher must know.\u003c\/p\u003e\n\u003cp\u003e1987 was a big year for Canadian Thrash. Bands like Voivod, Razor, Piledriver and Sacrifice had already done the groundwork over the previous few years but 1987 would be there year that saw the local scene taking the next step in its evolution with a new generation of bands making their initial forays into the world of recorded music. Amongst them were outfits like Slaughter, Infernal Majesty and four-piece Montreal Thrashers D.B.C. (otherwise known as Dead Brain Cells).\u003c\/p\u003e\n\u003cp\u003eD.B.C. had only formed in February of the previous year but had wasted no time in delivering their self-titled debut album in partnership with well-respected New York metal label Combat Records who had already made quite a name for themselves in the underground scene. Combat brought in experienced campaigners Steve Sinclair \u0026amp; Randy Burns to handle the production \u0026amp; engineering duties; each possessing some imposing resumes. It almost sounds too good to believe for a young Canadian band that had yet to make a name for themselves but such was the scenario D.B.C. saw themselves in when they made their way into the studio for the first time.\u003c\/p\u003e\n\u003cp\u003eAs with so many 80’s metal releases, the cover artwork for “Dead Brain Cells” is a cheap \u0026amp; nasty affair that was drawn by bass playing front man Phil Dakin. It would likely be the main contributing factor to D.B.C. not having made the commercial impact they deserved. Thankfully these aesthetic issues are not representative of the musical quality contained within.\u003c\/p\u003e\n\u003cp\u003eSinclair \u0026amp; Burns’ production job is actually very good \u0026amp; presents DBC in a very positive light. “Dead Brain Cells” certainly sounds of its time however there’s a great energy to this music that gives the band every chance of impressing the listener.\u003c\/p\u003e\n\u003cp\u003eD.B.C.’s musical direction is made up of several components. Firstly, you have a very sophisticated \u0026amp; mature modern Thrash Metal sound that’s been built on a love of aggressive American Thrash like Slayer \u0026amp; Nuclear Assault. D.B.C. are a fucking tight outfit and I regularly find myself being surprised at just how accomplished the composition \u0026amp; arrangements are considering that this was only the band’s first studio outing. There’s an impressive complexity to some of this material that sometimes even hints at the tech Thrash direction the band would take for their second \u0026amp; final studio album “Universe” two years later.\u003c\/p\u003e\n\u003cp\u003eThere are no weak tracks included on “Dead Brain Cells”. It’s an extremely consistent album that starts with a real bang as the opening three songs represent the strongest part of the album. This is some top notch Thrash right here which sees “Dead Brain Cells” sitting very comfortably under the undiscovered gem banner. 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Raw, bleak and essential!\u003c\/p\u003e\n\u003cp\u003eDoom Metal, perhaps the most varied of all the metal genres, has been crossing over with plenty of other genres, and surprisingly often, the crossbreeding has been fertile. While the “funeral” brand of Doom Metal sounds like something that lacks the genetics to successfully breed with other metal genres, its nihilism works surpringly well when blended with slowed down Death Metal. Among the masters of that gruesome fusion are Evoken from the United States.\u003c\/p\u003e\n\u003cp\u003e“Shades of Night Descending”is the first recording by Evoken, released in 1994, and for a debut recording, it is a surprisingly mature creation. The later works of Evoken have a thicker wall of sound and plenty of production tricks in them, but the deviations from the basic formula introduced here have been essentially more polishing that actual rethinking of the format.\u003c\/p\u003e\n\u003cp\u003ePerhaps the music is of the same Funeral Death\/Doom Metal variety as found on the later albums, all the way to the excellent “Antithesis of Light” and “A Caress of the Void”, but the unrefined production on “Shades of Night Descending”, with its barren character and almost heavy-handedly echoing soundscape, brings out the nihilism of funeral doom more effectively than the more professional production jobs of the later albums. The atmosphere on this recording is bleaker, even less forgiving, and perhaps even more desperate and repulsive in a positive sense than what can be found on “A Caress of the Void”. Even the considerably melodic guitar part in “Towers of Frozen Dusk” and other sweeter spots on the demo have a taste of ash and feel of pumice in them; Evoken walks on a musical lava field here, and manages to paint the true meaning of funeral doom in slow Death Metal colours on the canvas.\u003c\/p\u003e\n\u003cp\u003eIn comparison to their later works, this is perhaps the essence of the whole band in the original, pure form. Considering the year and the fact that this recording was recorded by a very recently formed band, the originality and the merciless exploration of new fields of abrasive nihilism are astounding. What’s more, the songwriting and technical performance sound exceptionally evolved. 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Give “Embrace the Emptiness” a listen and end up being immensely impressed...\u003c\/p\u003e\n\u003cp\u003eFirst, there’s an intro track that portrays what can be found on the rest of the album: light sounding guitar played with the regular Funeral Doom followed by a section of quiet, dark ambient on the second half of the intro. You might be feeling two vibes here. It sounds mournful like most traditional Funeral Doom, but it also sounds deep and void-like like Esoteric’s take on the genre. One might think Evoken found the sweet spot between the two and made something great out of it.\u003c\/p\u003e\n\u003cp\u003eLead guitars exist and do break into solos at least once per song. Production wise, the guitars sound the rawest of all the instruments, but it’s barely noticeable when layered with the keyboards and drums which are well produced. The clean sounding soft guitar is one of the key players here and fits in well at any part of the album, be it melancholic pieces like “Tragedy Eternal” or more menacing ones like “Chime the Centuries End”, though there is much more of the latter than the former. The keyboards also do their part to augment the atmosphere with the presentation on “Chime the Centuries End” making one feel like staring downward into an abyss. It all feels so dark and empty, hence ‘Embrace the Emptiness’.\u003c\/p\u003e\n\u003cp\u003eWe feel like Evoken issued forth the modern wave of Funeral Doom with the cleaner sound. Though they were a little late bringing out their debut full-length in 1998 when Skepticism and Esoteric already belted out two albums each, Evoken’s “Embrace the Emptiness” is still very inspirational.\u003c\/p\u003e\n\u003cp\u003ePut on “Embrace the Emptiness”, shade your windows, turn off the light, lie down in bed and let yourself get overwhelmed with emotions. 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One can easily appreciate this album on a purely musical level since the Austrian band’s vocalists sing with\u003c\/p\u003e\n\u003cp\u003eHow can one even reconcile the juxtaposition of such tremendous Doom beauty with the morbid overload of grotesque imagery that graces this band’s words? In the end, there is no reconciliation possible. One must simply experience this band and recognize that they forged their own way and then bulldozed the results to obliteration so that nobody could ever follow their demented path. Certainly you have never heard another band being anything like this.\u003c\/p\u003e\n\u003cp\u003eThis one has everything the Doom aficionado could ask for. It’s slow. It’s heavy. It’s plodding. It’s melodic.\u003c\/p\u003e\n\u003cp\u003eThis album was released in 1994 and has become a rarity since then. There is a lot of demand for it and the World screamed for a vinyl edition, so we heard the call. 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Satan changed their name to Pariah in 1988-1989.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSatan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside). Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time.\u003c\/p\u003e\n\u003cp\u003eWe might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics.\u003c\/p\u003e\n\u003cp\u003eThe production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this. Everything here is pretty damn heavy.\u003c\/p\u003e\n\u003cp\u003eWhile Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. 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