Svart HHV Records 315 Items

40 Watt Sun returns with Perfect Light; the third studio album created by Patrick Walker under the moniker. Perfect Light will be released digitally via Cappio Records, and physically via Svart Records on both CD and vinyl.

The expertly crafted, personal songs range from sparse, unaccompanied voice and guitar, through gently layered instrumentation featuring piano and delicate brush work, to moments more reflective of the warm, subtle overdrive of the band’s previous album, Wider than the Sky (2016). Like Patrick’s best work, the songs quietly build with emotion, and ache with a darkness and melancholy beauty.

Perfect Light is the first 40 Watt Sun album created without a full, formal band structure. Patrick enlisted an array of accomplished musicians to fulfil his vision for the album, including, among others, Andrew Prestidge and Roland Scriver (The Osiris Club), Ajit Gill (Vertaal), Lorraine Rath (Amber Asylum/Worm Ouroboros), and pianist/composer Chris Redman.

Alongside Patrick’s poignant and emotive vocals, his poetic lyrics remain central to the allure of the songs, with their composition strong enough to be evocative even when absorbed aside from the music. With no intention to make deliberately dark music, the album contains shards of hope and light to pierce through the pensiveness.

40 Watt Sun returns with Perfect Light; the third studio album created by Patrick Walker under the moniker. Perfect Light will be released digitally via Cappio Records, and physically via Svart Records on both CD and vinyl.

The expertly crafted, personal songs range from sparse, unaccompanied voice and guitar, through gently layered instrumentation featuring piano and delicate brush work, to moments more reflective of the warm, subtle overdrive of the band’s previous album, Wider than the Sky (2016). Like Patrick’s best work, the songs quietly build with emotion, and ache with a darkness and melancholy beauty.

Perfect Light is the first 40 Watt Sun album created without a full, formal band structure. Patrick enlisted an array of accomplished musicians to fulfil his vision for the album, including, among others, Andrew Prestidge and Roland Scriver (The Osiris Club), Ajit Gill (Vertaal), Lorraine Rath (Amber Asylum/Worm Ouroboros), and pianist/composer Chris Redman.

Alongside Patrick’s poignant and emotive vocals, his poetic lyrics remain central to the allure of the songs, with their composition strong enough to be evocative even when absorbed aside from the music. With no intention to make deliberately dark music, the album contains shards of hope and light to pierce through the pensiveness.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022.

Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next.

New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom.

Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

Deathbell is a five-piece band from Toulouse/France, that create eerie and heavy fuzz-laden Doom. Having released their debut album With the Beyond in 2018 that garnered underground attention, Deathbell have been lying in wait, taking their time to craft and hone their new juggernaut “A Nocturnal Crossing”. Incanting her melancholic and haunting vocals, Lauren Gaynor calls through cavernous walls of funeral organ and distorted slabs of riff-witchery to shepherd “A Nocturnal Crossing” into a hypnotic otherworld. With morbid clanging trips of psychedelic rhythms and shadowy atmospheres, Deathbell’s brand of mystical Doom is both transcendent and sombre.

Written and recorded between 2018 and 2021 in the French Pyrenees, “A Nocturnal Crossing”’s lyrics reflect on the metaphysical forces of life and spiritual introspection. Recorded live in April 2021, Deathbell have summoned a demon of Occult Rock to rival the classic greats of Coven and Pentagram and modern legends such as Jex Thoth and The Devil’s Blood. For inner journeys alone, or live group ritual worship, Deathbell’s “A Nocturnal Crossing” works as a gateway or ticket into a wider initiation of Doom Rock’s inherent ancient power of black magic. Songs like “Silent She Comes” and “The Ladder” are anthemic, and wistful, beautiful gravestones of heavy incantation that deliver the listener into a blissful sonic salvation, with the guitar duo of Bolzan and Commelongue riffing as though oblivion depended on it. A band to watch out for, surely on the tongues and minds of those who seek out Doom Rock’s ever evolving devilish secrets, on “A Nocturnal Crossing”, Deathbell have concocted a very strong brew.

The first single, “The Stronghold and The Archer”, from Deathbell’s new album will be released digitally 26th of November 2021. “A Nocturnal Crossing” vinyl and CD available worldwide in February 2022.

Limited sky blue vinyl, printed innerbag

Hebosagil, based in Oulu, northern Finland, has been a part of the lives of its thirtysomething musicians for 15 years. The band has survived an early thrash metal period and then transitioned into a more refined, but no less complicated entity, in whose output the grand tradition of domestic Finnish rock, punishing sludge and other forms of extreme metal and noise rock are woven together. The band have signed with Svart, and the first fruit of the new collaboration, the album Yössä, will hit the shops in February.

The album Yössä, the band’s fifth, sees Hebosagil move from style to another with the finesse of a seasoned professional, and the album’s moods range from fragile moments of clarity to the gloomiest chords heard from the band to date. Finnish rock, punk and extreme metal walk hand in hand only to throw themselves into a shredder, resulting in energetic, constantly interesting works of sound, in which a surprisingly varied set of elements have been mutilated into atoms and built back together with care and a sense of balance.

The band’s Finnish lyrics deal largely with the transitive nature of mundane glory. Yössä can be seen as a symbolic farewell to childhood, with the cover art depicting an old derelict ship in the woods. In reality this ship was used as a prop in a shopping mall which the band members frequented as kids, and the ship had a candy store inside it. As the years passed, the shop folded and the ship was taken out to rot.

The Finnish death doom spearhead Kuolemanlaakso, starring vocalist Mikko Kotamäki (Swallow the Sun), are about to release their first album in eight years. The band’s third full-length Kuusumu was co-produced, mixed, mastered and engineered by the Triptykon and Dark Fortress guitarist V. Santura, with whom the band has worked with on all of their releases. Kuusumu will be released in 2022 via Svart Records.

“The recording break streched unforgivably long, but in doom there’s no rush. It was great to get back to business with the guys and have the opportunity to invite a couple of old friends to help us out, too. Kuusumu’s keyboards were produced and co-arranged by Aleksi Munter (Swallow the Sun, Insomnium, Ghost Brigade), and Lotta Ruutiainen (Luna Kills) did some amazing singing on a couple of tracks. In my humble opinion we took many steps forward on Kuusumu”, says guitarist-songwriter Laakso.

Kuusumu’s texts are loosely based on the sudden global cooling that began in 535, leading to a 10-year long winter, loss of crops, famine and mass deaths of cattle and other animals. The climate change was most likely caused by massive volcanic eruptions, the fog of which darkened the sun for 1,5 years, causing loss of light and intolerable coldness. Moreover, the bubonic plague that began in the Byzantine Empire in 541 swept across Europe, killing tens of millions of people during the climate crisis.

“I see our previous releases as autumn albums, so this time we decided to make a winter album. I came across some literature about the catastrophic events by chance, and got immensely inspired by them – especially the contemporary writings of the 530–540 era. It didn’t take long for me to write the album after that. It’s spine-chilling to ponder that a deadly climate change and a pandemic raged also 1,500 years ago when medical knowledge, information flow and living conditions were in their infancy. And there was no electricity, of course. People thought that they have angered the gods and the darkness will last forever,” says Laakso.

On Kuusumu, Kuolemanlaakso stretch their artistic boundaries even further. The album contains the trademark Kuolemanlaakso heaviness, but also more bombastic, fast and meticulously arranged material. The first single Katkeruuden malja, featuring Lotta Ruutiainen, represents the catchier and lighter side of the album.

“Katkeruuden malja draws its inspiration from grief and misery. Musically it’s almost tripping in the landscapes of recent day Tribulation, but with melancholic and Kalevala-infused melodic influences, that sound very Finnish to me. The music video sort of mixes and matches the frost theme of the album with the color palette of the cover artwork,” states Laakso.

The Finnish death doom spearhead Kuolemanlaakso, starring vocalist Mikko Kotamäki (Swallow the Sun), are about to release their first album in eight years. The band’s third full-length Kuusumu was co-produced, mixed, mastered and engineered by the Triptykon and Dark Fortress guitarist V. Santura, with whom the band has worked with on all of their releases. Kuusumu will be released in 2022 via Svart Records.

“The recording break streched unforgivably long, but in doom there’s no rush. It was great to get back to business with the guys and have the opportunity to invite a couple of old friends to help us out, too. Kuusumu’s keyboards were produced and co-arranged by Aleksi Munter (Swallow the Sun, Insomnium, Ghost Brigade), and Lotta Ruutiainen (Luna Kills) did some amazing singing on a couple of tracks. In my humble opinion we took many steps forward on Kuusumu”, says guitarist-songwriter Laakso.

Kuusumu’s texts are loosely based on the sudden global cooling that began in 535, leading to a 10-year long winter, loss of crops, famine and mass deaths of cattle and other animals. The climate change was most likely caused by massive volcanic eruptions, the fog of which darkened the sun for 1,5 years, causing loss of light and intolerable coldness. Moreover, the bubonic plague that began in the Byzantine Empire in 541 swept across Europe, killing tens of millions of people during the climate crisis.

“I see our previous releases as autumn albums, so this time we decided to make a winter album. I came across some literature about the catastrophic events by chance, and got immensely inspired by them – especially the contemporary writings of the 530–540 era. It didn’t take long for me to write the album after that. It’s spine-chilling to ponder that a deadly climate change and a pandemic raged also 1,500 years ago when medical knowledge, information flow and living conditions were in their infancy. And there was no electricity, of course. People thought that they have angered the gods and the darkness will last forever,” says Laakso.

On Kuusumu, Kuolemanlaakso stretch their artistic boundaries even further. The album contains the trademark Kuolemanlaakso heaviness, but also more bombastic, fast and meticulously arranged material. The first single Katkeruuden malja, featuring Lotta Ruutiainen, represents the catchier and lighter side of the album.

“Katkeruuden malja draws its inspiration from grief and misery. Musically it’s almost tripping in the landscapes of recent day Tribulation, but with melancholic and Kalevala-infused melodic influences, that sound very Finnish to me. The music video sort of mixes and matches the frost theme of the album with the color palette of the cover artwork,” states Laakso.

Pressed on warpainted and bloodied vinyl, Svart Records present a trilogy of vinyl represses by Finland’s folk metal war machine Turisas. Prepared together with the band, these new gatefold renditions come with extensive liner notes plus A2 posters.

Pressed on warpainted and bloodied vinyl, Svart Records present a trilogy of vinyl represses by Finland’s folk metal war machine Turisas. Prepared together with the band, these new gatefold renditions come with extensive liner notes plus A2 posters.

Black vinyl, thick booklet with flyers, photos, lyrics and memorabilia Pyhäkoulu was born in 1984 when lead vocalist Sanna “Saku” Rajala came up with the idea of starting an all-female punk band. At the time Finnish punk bands had barely any female members, so such idea was rare in the social climate of the early 1980’s, especially in their hometown Hämeenlinna. Things happened fast for Pyhäkoulu and by 1990, after several lineup changes, a handful of records and heavy touring in Finland and mainland Europe, the band decided to go their separate ways. Even though they had a relatively short run of only 6 years, Saku became one of the most recognizable voices in the history of Finnish Hardcore, and Pyhäkoulu left their mark on the 1980’s punk underground with their raw and uncompromising sound. Most of the original vinyl releases have since become sought-after collector items and the band has gained cult following among the initiated. This band-approved compilation includes Pyhäkoulu’s tracks from their split with Abortti-13, their self-titled 12″, Sankari EP, live recordings from 1987 and previously unreleased studio quality tracks the band recorded in 1989 just before calling it a day. The audio material has been carefully restored and remastered from the original tapes, and the package comes with a thick booklet full of old photos, interviews, lyrics, flyers and other memorabilia.

Eastern Finnish occult surf rock!

The debut album from Iro Haarla's new Electric Ensemble!

Gatefold sleeve, Limited clear vinyl

“In the Flesh” is the brainchild of Egyptian-born, New York-based conceptual artist Nader Sadek. Known for his impressively twisted sculptures, masks, and installations used for example by bands such as Mayhem and Sunn O))), Sadek is now venturing into the realm of recorded music- including songwriting credits on this album!

The band Nader Sadek emerges out of a collaboration between Sadek and some of extreme music’s most talented artists with its core made up out of songwriter/vocalist Steve Tucker (ex-MORBID Angel), Cryptopsy drummer Flo Mounier and Norwegian composer/guitarist Rune Eriksen (ava Inferi, ex-Mayhem). A host of guest-appearances lends additional weight to the musical impact of “In the Flesh” by leading artists such as Attila Csihar (Mayhem), Travis Ryan (cattle Decapitation), Tony Norman (monstrosity), Descructhor (morbid Angel), and Nick McMaster (krallice). “In the Flesh” is firmly based on a technically masterfully executed unique style of Death Metal with a pitch black twist that creates a multi-cultural symphonic abyss where melody and corrosion meet.

As a work conceptual art “In the Flesh” is best explained like this:

Nader Sadek invite you on a journey to the depths of the earth, where substances of a repulsive nature dwell. Beneath the earth’s crust, over millions of years creatures have disintegrated and decayed until taking on ghastly new life as petroleum. Like a return of the undead, petroleum and its derivates have wrought cross-cultural conflict, environmental pollution, and economic distress. With a visual and aural assault, Sadek’s new work “In The Flesh” re-interprets petroleum’s sinister insinuation into our everyday lives. Nine songs and a series of original drawings video works explore several aspects of the commodified resource we find ourselves fatally dependent on.

“In the Flesh” exploits the sonic links between death metal and gasoline-dependent heavy machinery such as automobile and airplane engines. These links shaped the process of musical composition itself: The album opener, “Petrophilia”, kicks in with a sound evoking an engine starting up. Another song, “Of This Flesh (novus deus)”, follows the sonic structure of a car shifting gears. While continuing to link musical composition to mechanical transformations, other songs depart from engine-based references. The outro to the album, “Nigredo in Necromance” which is already accompanied by a video, dwells on an individual’s recognition that he must die in order to reunite with his deceased lover. The song riffs on the life-in-death of an oil-drenched society, as the lovers’ reunite in their decomposition and rebirth as petroleum. This theme also drives the track “Mechanic Idolatry”, which channels the uncanny thrust of Sadek’s recent artistic output, as live human beings provide the fuel for machines transforming themselves into flesh.

Gatefold sleeve, Limited magenta vinyl

Re-release of the third full-length album by the American grindcore legends!

True to the American interpretation of Grindcore Terrorizer amalgamate the most forceful elements of Death and Thrash into a true juggernaut of Metal. Since their famed debut “World Downfall” (1989), this beast has been driven by the relentless and precise pounding of Pete Sandoval (Morbid Angel), who delivers yet another jaw-dropping barrage. Fans will be delighted to see Morbid Angel frontman David Vincent once more returning to play bass on this album. They will also be glad to hear that excellent singer Wolf aka Anthony Rezhawk (Resistant Culture), who already refined the highly acclaimed second album “Darker Days Ahead” (2006) is again adding his resonant and fierce growls as well. The new line-up is completed by Katina Culture (Resistant Culture), who is replacing the sadly late Jesse Pintado (August 28th, 2006) on guitar.

A Svart Mondo release. Black vinyl, gatefold jacket.

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into.

Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy.

No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

Musta vinyyli, avattavat kannet CMX:n Pedot ensimmäistä kertaa vinyylinä!

Deluxe vinyl reissue of The Meteors' 2009 album!

Deluxe vinyl reissue of The Meteors' 2012album!

Deluxe vinyl reissue of The Meteors' 2012album!

Claudio Simonetti's Goblin recorded live in Helsinki!

Claudio Simonetti's Goblin recorded live in Helsinki!

Claudio Simonetti's Goblin recorded live in Helsinki!

Debut album from Finland's Dust Mountain!

A brand new album from the finest current torchbearers of the Scandinavian Progressive Rock tradition

A brand new album from Finnish funeral doom pioneers!

A brand new album from Finnish funeral doom pioneers!

A brand new album from Pekko Käppi & K:H:H:L!

The first-ever vinyl edition of Reverend Bizarre’s 2007 single Teutonic Witch.

2nd pressing on limited yellow vinyl

Burning Saviours doom-monger spreads his wings into the northern darkness with his new project Heathen Rites. Heaving earthy Doom, inspired by nordic folklore and ancient landscapes, Heritage is an epic and melodic hymn to northern nature and history.

Finally on vinyl!

The debut 12" from I Am The Night. Limited to 500 copies on black vinyl.

A brand new, blistering MLP from Finnish punks Kovaa Rasvaa.

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the Nola metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs. With personal liner-notes, that set the scene and describe the unique vibe of the band’s sound and live show, including old flyers and posters from concerts and photos of the different line-ups from 1990 until today, the package is an immersive insight into one of the paramount heavy Sludge bands of our time. A vision of pain and neglect, they’ve done thousands of shows, never predictable in their tension and ultimately, release. Glory in their downtuned vision of depravity and despair, for the End Times aren’t coming, they’re here and they’ve always been here. Revel in the power of Nines, in the power that is Eyehategod. Licensed from Century Media and released in a limited edition of 600 on black vinyl, and 400 on green splatter vinyl. Expertly remastered by Jaime Gomez Arellano (Paradise Lost, Cathedral, Ghost).

It might’ve taken 20 years but here it is: the original line-up of the Flaming Sideburns unleashes a brand new album “Silver Flames”. It can be seen as a follow-up to their now legendary debut “Hallelujah Rock’n’Rollah”, which was released two decades prior in 2001. “Silver Flames” is an album nobody expected to happen. Most certainly it’s out of time and out of place in 2021 but that has never stopped the Flaming Sideburns on their mission. Instead they launch a rock’n’roll assault at full throttle. It’s all there from straight-ahead rockers (“Silver Flame”, “Searching Like a Hyena”) to deep psychedelia (“Niburu”, “Reverberation”) and from classic rock (“A Song for Robert”) to pop-tinged choruses (“Perfect Storm”, “Cast out my Demons”). The album is wrapped-up by “Trance-Noché” and its unusual combination of Latin American madness and Arctic hysteria — topped with the lyrics en Español. ”Silver Flames” might be versatile but all of the tracks have a common goal: to make it on the album they had to be good enough to stand on their own as a single release. “Hallelujah Rock’n’rollah” gave us seven singles and “Silver Flames” is well on its way to top that. “Soulshaking”, “Trance-Noché”, “Neverending” and “A Song for Robert” are already out on 7” vinyl and there’s more to come later this year. The Flaming Sideburns started out in Helsinki in 1995 and soon found themselves touring both sides of the Atlantic. Their early releases were compiled on “It’s Time to Testify” but it was the launch of “Hallelujah Rock’n’Rollah” that put the band on top of the early 2000s garage rock revival. Stateside the record was released under a new moniker “Save Rock’n’Roll”. “Hallelujah Rock’n’Rollah” kept the band busy touring across the world and sharing the stages with their original inspirers like The Sonics or The Stooges. It also gained them exposure on U.S. television: “Loose My Soul“ was featured on HBO’s “The Wire,” “Flowers” made it to Fox’s “The O.C.” and “Street Survivor” was picked up by Toyota for a tv commercial. The break-through album also meant the end of the original line-up. Soon after the release, the guitar player Arimatti Jutila moved to the United States and the band was forced to soldier on with various line-ups. After two more albums, “Sky Pilots” and “Keys to the Highway,” and hundreds of shows, the Flaming Sideburns found themselves inactive for the first time in their career in 2016. That was not bound to last long. In 2018 the five original members — four Finns led by Argentine-born vocalist Eduardo Martinez — joined forces for a string of shows in The UK, Spain and The Nordics. As soon as they hit the road, the new songs started coming out. Soon the band hit the studio and the old gang was completed by Jürgen Hendlmeier who’s been serving as the producer for the Flaming Sideburns since day one. “Silver Flames” makes the comeback complete. Enjoy.

Black vinyl

On “Skeleton Elevator”, a hair-tingling, spine-popping, ribcage-rattling slab of twisted tundra boogie, Finland’s Cosmo Jones Beat Machine have their bony fingers on the global pulse of underground rock’n’roll, invoking the spirits of Beefheart, the Fall and Funkadelic.

Cosmo Jones Beat Machine have a history that spans over two decades and starts in the woods and the wild in eastern Finland. Over the years the band have lived through five album releases, countless lineup changes and furious live appearances around Scandinavia and Europe that have brought the band a minor cult following. Skeleton Elevator is their sixth album altogether and the first in six years.

The six years spent in cultivating the album now at hand have further tempered the band’s trademark sound, which is comprised of primitive but captivating rhythms and a terrifying racket. The vocalist Pharaoh Pirttikangas’ trademark raspy delivery, which has deepened over the years, weaves stories dug up from the Mississippi Delta in the pale moonlight and distilled through an eastern Finnish swamp. The new album’s Beefheartian clatter is at times spiced with influences from unexpected directions such as disco (Minimal Brain Dysfunction Generation) and Funkadelic-style space funk (Transformed). The band recorded the bulk of the album during a 24-hour session without sleep, which only adds to the record’s pleasantly unpolished, frantic edge.

The Savonian occult rock behemoth Jess and The Ancient Ones have emerged with a new album! Their brand of heavy guitar and organ-led swagger has progressed from the twin guitar metal blast of yesteryear to Jess and The Ancient Ones’ very own take on soulful late sixties garage psychedelia. Titled Vertigo, the new record is set for release on Svart Records on May 21st this year with a foreboding sound of lysergic doom.

What began on the previous record, ‘The Horse & Other Weird Tales’ is taken further and deeper, towards a conclusion on Vertigo. Songwriter and guitarist Thomas Corpse comments, “To me this album sounds like a dark horse – a brother to the previous album. There’s a strange ominous feeling that hovers upon the entire album, maybe it’s the feeling of nostalgia that’s arising from the lyrics.”

Wrapped in a crude tornado-adorned old school sleeve, the album’s eight tracks bubble in a boiling cauldron of vintage pop culture influence and occult-tinged paranoia. Ranging from the softly fiery opening track ‘Burning of The Velvet Fires’ to the almost heavy metal -ish nihilistic banger ‘Born To Kill’, Vertigo is a spiraling journey of heavy Finnish psych rock at its finest.

Smiles are contagious, so in these troubled times Throat urge you to smile less Throat’s third album, ”Smile Less” carries a significantly darker tone compared to the band’s previous output albeit the light at the end of the tunnel has always been dim. While the foundation of Throat’s sound remains in 90s noise rock, ”Smile Less” pushes its way through all boundaries, starting off with cold post-punk vibes and ending in a wall of harsh noise. The space between those moments is stuffed with noisy rock music offering the listener the odd chance for groovy booty shake before throwing a curve ball with some industrial sound experiments. The first impression may not be as jarring as on their earlier recordings, but ”Smile Less” is still a demanding listen as Throat have never been poster boys for entertainment value. Just like ”Bareback” (2018), the band’s second album and first one for Svart Records, ”Smile Less” was recorded at Tonehaven Recording Studio with Tom Brooke, mixed by Andrew Schneider (Unsane, Cult of Luna, Cave In) and mastered by Carl Saff (Big Business, KEN Mode, Young Widows). Artwork was designed by Canadian artist Paul Van Trigt. Since ”Bareback”, Throat has toured the U.S., played a handful of shows in Finland, celebrated their 10 year anniversary with a double-CD compilation, recruited a new drummer in their ranks and also released an industrial/noise remix version of ”Bareback”.

Blackened Blues with Doom and Punk influences, Black Totem’s Deathrock is overflowing with superstition, vice and horror. Up to no good since 2008, Black Totem are notorious road-dogs of the Finnish underground, cutting their teeth and scraping their raw knuckles in a slew of live shows through the years. The band has shown promise since the early days releasing two EP’s and a self-titled debut album, which won an award for Best Rock Album at the Turku Music Awards in 2016. With their new album “Shapeshifting,” Black Totem are downright lycanthropic, breaking out of their enigmatic origins and taking on a much more unadulterated form. Their catchy, raucous Blues songs, with wild, untamed backing vocals and horror-soundtrack keys, give a distinctly Finnish lizard-disco hysteria to their fortified sound, coming across like a blood-bath in a moonshine distillery. Howling at the moon, with lungs of bile, Danzig/Misfits/Samhain influences are fleshed out with the Doom-laden riff-war of Celtic Frost, Venom and Darkthrone. Together with the catchier urban song-craft of the Black Keys, this cauldron of Black Totem’s magic formula makes “Shapeshifting” a familiar, yet heavily enjoyable natural genre-clash of their own.

Gatefold sleeve, limited lime colored vinyl. La Morte Viene Dallo Spazio (Death Comes From Space)’s name is taken from a late 50s Italian sci-fi b-movie, and this ensemble’s cinematic odyssey of sound is like Argento, Fulci and Bava taking acid with Magma and Jodorowsky. A solid departure from anything you will be listening to right now, La Morte Viene Dallo Spazio’s free-form journeys leave you in unknown astral territory and bake your brain. Composed of an open gathering of players, the Italian quintet combines flavours of Middle Eastern scales, droning theremin and guitars. Their flute-player’s frantic, progressive and abstract elements tear open the cosmic gates like Jethro Tull in a Giallo nightmare. The first album, ‘Sky Over Giza’, released in 2018, was a synth laden soundscape full of ancient mysticism and alien apparitions which gained them a rabid following in their home country of Italy and beyond. La Morte Viene Dallo Spazio’s second album on Svart Records; ‘Trivial Visions’, is a wholly unique experience. An enthralling listen in a confluence of sound and ritual atmospheres that craft a both vibrant and hypnotic effect with nods to black metal and extreme ends of the sound spectrum. This vivid, dreamy and cosmic material will transfer the listener to vast sonic dimensions where one could easily lose the way back to reality. Is this Jazz, Stoner-Rock, Psych-Rock or Progressive Rock? This is La Morte Dallo Spazio and they’re in a universe of their own. Start receiving your deathly visions when the new album drops via Svart Records on the 26th of March 2021.

Tasavallan Presidentti, along with Wigwam, were Finland’s top export act in the days of the first wave of progressive rock in the early seventies. Svart Records have, in co-operation with the band members, prepared new editions of these classic records on vinyl and CD, for the ages. Originally released on Love Records in 1974 and subsequently licensed to many foreign labels, Milky Way Moses was Tasavallan Presidentti’s last album of the classic seventies era, the band ending their career for the time being not long after. The Svart reissue expands the original jacket to gatefold, with full lyrics printed inside, and also adds a 12 page booklet with new interviews with the band plus rare photographs.

It might’ve taken 20 years but here it is: the original line-up of the Flaming Sideburns unleashes a brand new album “Silver Flames”. It can be seen as a follow-up to their now legendary debut “Hallelujah Rock’n’Rollah”, which was released two decades prior in 2001. “Silver Flames” is an album nobody expected to happen. Most certainly it’s out of time and out of place in 2021 but that has never stopped the Flaming Sideburns on their mission. Instead they launch a rock’n’roll assault at full throttle. It’s all there from straight-ahead rockers (“Silver Flame”, “Searching Like a Hyena”) to deep psychedelia (“Niburu”, “Reverberation”) and from classic rock (“A Song for Robert”) to pop-tinged choruses (“Perfect Storm”, “Cast out my Demons”). The album is wrapped-up by “Trance-Noché” and its unusual combination of Latin American madness and Arctic hysteria — topped with the lyrics en Español. ”Silver Flames” might be versatile but all of the tracks have a common goal: to make it on the album they had to be good enough to stand on their own as a single release. “Hallelujah Rock’n’rollah” gave us seven singles and “Silver Flames” is well on its way to top that. “Soulshaking”, “Trance-Noché”, “Neverending” and “A Song for Robert” are already out on 7” vinyl and there’s more to come later this year. The Flaming Sideburns started out in Helsinki in 1995 and soon found themselves touring both sides of the Atlantic. Their early releases were compiled on “It’s Time to Testify” but it was the launch of “Hallelujah Rock’n’Rollah” that put the band on top of the early 2000s garage rock revival. Stateside the record was released under a new moniker “Save Rock’n’Roll”. “Hallelujah Rock’n’Rollah” kept the band busy touring across the world and sharing the stages with their original inspirers like The Sonics or The Stooges. It also gained them exposure on U.S. television: “Loose My Soul“ was featured on HBO’s “The Wire,” “Flowers” made it to Fox’s “The O.C.” and “Street Survivor” was picked up by Toyota for a tv commercial. The break-through album also meant the end of the original line-up. Soon after the release, the guitar player Arimatti Jutila moved to the United States and the band was forced to soldier on with various line-ups. After two more albums, “Sky Pilots” and “Keys to the Highway,” and hundreds of shows, the Flaming Sideburns found themselves inactive for the first time in their career in 2016. That was not bound to last long. In 2018 the five original members — four Finns led by Argentine-born vocalist Eduardo Martinez — joined forces for a string of shows in The UK, Spain and The Nordics. As soon as they hit the road, the new songs started coming out. Soon the band hit the studio and the old gang was completed by Jürgen Hendlmeier who’s been serving as the producer for the Flaming Sideburns since day one. “Silver Flames” makes the comeback complete. Enjoy.

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021.

More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max’s Kansas City, Cbgb Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it. This is as far as it goes. The Limit!

Black vinyl edition. Gatefold double lp with silver foil blocking and a large booklet. First time on vinyl! The fourth Lord Vicar full length album, a sonically and emotionally devastating journey in doom metal, features songs about war, fought both between people and within us all. Slow and intense riffage, progressive structures, and introspective lyrics create a hard and yet magical journey to the relief that waits at the end of all things.

Black vinyl edition. Gatefold double lp with silver foil blocking and a large booklet. First time on vinyl! The fourth Lord Vicar full length album, a sonically and emotionally devastating journey in doom metal, features songs about war, fought both between people and within us all. Slow and intense riffage, progressive structures, and introspective lyrics create a hard and yet magical journey to the relief that waits at the end of all things.

Released in 1994 and not only considered one of the classics of 1990s traditional Doom Metal, many fans consider “Parallel Corners” to be Penance’s finest album. The first ever vinyl release of this nearly forgotten doom-metal gem by Svart Records is a lush double LP gatefold with brand new artwork and insert with a photo collage and liner notes. A worthy addition to complete any Doom-mongers vinyl treasury, make sure you lay your hands on this heavy slab of metal history.

Released in 1994 and not only considered one of the classics of 1990s traditional Doom Metal, many fans consider “Parallel Corners” to be Penance’s finest album. The first ever vinyl release of this nearly forgotten doom-metal gem by Svart Records is a lush double LP gatefold with brand new artwork and insert with a photo collage and liner notes. A worthy addition to complete any Doom-mongers vinyl treasury, make sure you lay your hands on this heavy slab of metal history.

Dear Friend, This record that you are holding in your hand is a proper product of the Spirit. In 1967 Great Spirits dropped by my house for coffee and ordered: “You must set Everybody’s Character’s into music”. I immediately left, with a notebook in hand, to interview all people in the world, but the Spirits bolted my door shut so that I could not exit and announced with ghastly laughter: “We meant the Horoscope! You are to humbly attempt to interpret all 12 signs as well as you can”. This I did… Matti “Rag” Paananen” Horoscope is an Occult Jazz masterpiece from 1973, never before reissued on vinyl. In 1967, Matti “Rag” Paananen decided to compose his own vision of the Western astrological signs. Each one has its own composition on the 12-song theme album that was originally released in 1973. For the compositions he studied every astrological sign and made his own interpretation of how it would sound as music. Although the compositions were already made in 1967, they weren’t recorded until late 1972. The idea to make the record came from Seppo “Paroni” Paakkunainen who produced Horoscope with Ilpo “Ilja” Saastamoinen. Both of them also play on the album and contributed an intro and outro for the album (Space In, Space Out). All the songs were composed according to different characteristics of the signs. The subject is there in plain sight and Paananen pictures how it would sound as music. This approach gives the songs a very visual and yet individual nature, but at the same time the compositions and the arrangements are aesthetically coherent. This is what makes Horoscope so special and an album you need to sit down for. The album is very much in line with what was done in the 1970s Finnish music scene with its jazz and prog rock touches, but there really is no album like this. It sounds like a soundtrack to a bizarre, imaginary silent film from the 1970s in which different animals meet in a hazy jazz bar.

A Svart Mondo Release. Limited to 500 copies on black vinyl. By early 1960’s, jazz in its mainstream form had become the standard dance music for the student parties in high schools and several student union clubrooms in Helsinki. The Polytech union even organized matinée dances for high school students on Sundays. The change in the musical preference of young people’s dance music occurred with the arrival of British rock in the mid-sixties and this, of course, coincided with another cultural and musical development. As the new campus for the school was built in Otaniemi, Espoo in 1955-1966 and its operations gradually moved there, the modern style “Dipoli” building became the crowning edifice on the campus. It was to be the new home for the Polytech student union. When this controversial building was opened in 1966, it was meant to introduce a new vision of the future and constituted an embodiment of the modernist spirit of those times in the late 1960’s. This reissue of The Complete Jazz at the Polytechnicum recordings, done in 1967-68, also provides us with a glimpse of the modern directions of those days, not only in jazz music, but also in performance art. It is easy to hear that the main aesthetic in these performances was to break conventions and find new avenues for individual expression. The publisher of these recordings was the Jazz Society of the Tech Students, which was formed a little before these recordings. The name of the society was a take-off from Norman Granz’ Jazz at The Philharmonic and it became Jazz at the Polytechnicum. Both are, of course, abbreviated as J.A.T.P., which became formulated in musicians’ mouths into “Jappa”. This Svart Records re-issue consists of four EP-records in chronological order. The first three feature three jazz groups of the leading young players with their ages ranging from 21 to 30. The fourth one documents an avant-garde art “happening” held in Dipoli on March 20th – 24th 1968 called “Posotusta, pimputusta, pompotusta”, which could freely be translated as “Huff ‘n’ puff ‘n’ plonk”.

Green vinyl, limited to 500 copies. Prepared in co-operation with the band, this is part of Svart’s definitive editions of Warning on vinyl. The band’s 1999 debut full length after two successful demo tapes caused big waves in the then-small underground Doom Metal scene. A harbinger of things to come further down the road, this album sees the masters of slow contemplation start to craft and hone their unique melancholic style. A pre-cursor to their masterpiece “Watching From A Distance, Sputnikmmusic.com calls this record “the building blocks of one of the greatest doom metal albums ever”. The Svart vinyl edition includes the original Stephen O’Malley artwork. The Audio is specially mastered for vinyl at Orgone Studios and lathe cutting is done at Timmion Cutting.

Before Warning became one of the most important and genre-shattering doom metal bands of the last decade with their albums “Strength to Dream” and “Watching from a Distance”, they gained cult fame in the global tape-trading underground community with their demos Revelation Looms and Blessed By The Sabbath. Long out of print and difficult to obtain on any format, with the reissues even becoming sought-after gems, Svart have now repressed this definitive edition of Warning’s demos on vinyl. This fully authorised edition includes a selection of vintage photos, all lyrics plus liner notes by Patrick Walker and Stu Springthorpe, as well as a foreword by Peter Vicar.

Eternal Tears of Sorrow’s long career kicked off with the more thrash metalish debut album in 1997, but it was on the 1998 follow-up Vilda Mánnu (“Wild Moon” in the Sami language of indigenous Lapplandish people) that the band really carved their own niche amid the crowded metal scene. Hailing from Finnish Lappland, Etos are best known for well-crafted, fierce but melancholic melodic death metal with symphonic overtones, of which this album, their Spinefarm Records debut, is a prime example.

Eternal Tears of Sorrow’s long career kicked off with the more thrash metalish debut album in 1997, but it was on the 1998 follow-up Vilda Mánnu (“Wild Moon” in the Sami language of indigenous Lapplandish people) that the band really carved their own niche amid the crowded metal scene. Hailing from Finnish Lappland, Etos are best known for well-crafted, fierce but melancholic melodic death metal with symphonic overtones, of which this album, their Spinefarm Records debut, is a prime example.

Svart Mondo presents an official reissue limited to 500. Highly sought-after gem of Argentinian prog/psych, Cuero’s second album Crecimiento (1974) is a turning point for the band. Latin jazz-rock style in the vein of Carlos Santana, with abundant instrumental themes of Afro roots, mixed with diverse percussion styles and arrangements, gives you an idea of the outlandish territory the band traverses. A Prog and Jazz Fusion oddity of the finest calibre, reminiscent of records like Zappa’s Waka/Wazoo with some free jazz touches and the occasional jazz flute thrown in for good measure. Heavy bass grooves (“Viéndome a trasluz” “Pisando el suelo”), with a few brief percussion interludes (“Forrado de cueros”) to mix it up a bit, makes Crecimiento an enthralling listen. Resurrected by Svart with booklet and liner notes, so that a future generation can appreciate this piece of Argentinian music history without paying the high prices that the rare original vinyl now fetches.

Limited A5 digipak, 500 copies. Svart Records has re-issued some of the very finest classic Finnish Post-punk albums such as Musta paraati, Kola kestää and Nolla nolla nolla, alongside being known for discovering modern underground classics such as Beastmilk. Now we turn our ears towards a new wave of sound from Sweden, to Pågå and their wildly original new album The Evil Year.

Official reissue. Black vinyl. Includes a memorabilia insert and an A2 poster.

Dark Buddha Rising unveil their seventh album, Mathreyata on Friday the 13th of November 2020 via Svart Records. Mathreyata album artwork, and teaser trailer for first single “Sunyaga” revealed. Video by Dehn Sora. Finnish “dark underlords of psychedelic drone” Dark Buddha Rising return with their heaviest and darkest record yet. V. Ajomo from Dark Buddha Rising states “Mathreyata follows the visions that were received from Inversum’s implosion and is the accession of what we invoked with the II EP. Before completing the great circle, all cycles must be dissolved. In the end we are standing at the edge of the abyss with all our previous work as weights, impatient to dive in. We recorded the basis of the album just before the Waste of Space Orchestra project began and mostly because of that, it took a few years to get it finished. Finally the material that we have performed live for several years can be experienced as a recorded album.” Dark Buddha Rising’s abyssic and meditative sonic-void has been opening up over the last 10 years to swallow more and more devotees in their wake. Since their inception in 2007, with their first four albums being highly-coveted, sold-out private pressings, to subsequent Svart Records reissues, to their burgeoning fifth album Dakhmandal, Dark Buddha Rising have been shining like a black diamond for those that go mining for the real thing. Embraced into Neurosis’ Neurot Records fraternity, with 2015’s critically acclaimed sixth album Inversum, Tampere-based psychonauts, Dark Buddha Rising have captivated the collective consciousness of the heavy underground and achieved cult-legend status. 2019’s climactic and highly praised Waste Of Space Orchestra collaboration with local kindred spirits Oranssi Pazuzu at Roadburn Festival, put Dark Buddha Rising’s Wastement home studio: “the asylum of eternal feedback,” firmly on the International music world map and into the hearts of the pitch-black psych-rock underworld. Gathering a throng of newly devoted adherents who worship at the altar of their churning vortex, Dark Buddha Rising’s live shows are a transformative experience that are religiously revered by audiences across Europe, with Invisible Oranges calling their performance “brain melting.” Metal Hammer describe Dark Buddha Rising’s music as “a shamanic voice chanting before a tumultuous void, soon all encompassed by a yawning riff chasm, contorted by keys, chants, rants and abyssal atmospherics,” and to put words into what Dark Buddha Rising does to the listening audience is to describe the band surrendering fully to the intuition and primal instincts as altered states of mind. Prepare your mind and body for an initiation into the dark arts of Mathreyata on Friday the 13th of November 2020. Dark Buddha Rising have channeled a work for dark spirits and those who seek to travel beyond the unknown.

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the Nola metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs. With personal liner-notes, that set the scene and describe the unique vibe of the band’s sound and live show, including old flyers and posters from concerts and photos of the different line-ups from 1990 until today, the package is an immersive insight into one of the paramount heavy Sludge bands of our time. A vision of pain and neglect, they’ve done thousands of shows, never predictable in their tension and ultimately, release. Glory in their downtuned vision of depravity and despair, for the End Times aren’t coming, they’re here and they’ve always been here. Revel in the power of Nines, in the power that is Eyehategod. Licensed from Century Media and released in a limited edition of 600 on black vinyl, and 400 on green splatter vinyl. Expertly remastered by Jaime Gomez Arellano (Paradise Lost, Cathedral, Ghost).

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the Nola metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs. With personal liner-notes, that set the scene and describe the unique vibe of the band’s sound and live show, including old flyers and posters from concerts and photos of the different line-ups from 1990 until today, the package is an immersive insight into one of the paramount heavy Sludge bands of our time. A vision of pain and neglect, they’ve done thousands of shows, never predictable in their tension and ultimately, release. Glory in their downtuned vision of depravity and despair, for the End Times aren’t coming, they’re here and they’ve always been here. Revel in the power of Nines, in the power that is Eyehategod. Licensed from Century Media and released in a limited edition of 600 on black vinyl, and 400 on green splatter vinyl. Expertly remastered by Jaime Gomez Arellano (Paradise Lost, Cathedral, Ghost).

“With Polysomn we emphasize psychedelic chaos. Each song creates their own reality, filled with surreal visions and ethereal soundscapes. “an Bat None” introduces the heavier side of the album. Its purpose is to be a wall of sonic bliss.” Formed in 2009 by four inner-space travellers from western Finland, Kairon; Irse! is a rare bird, near-impossible to classify. The Wire describes their music as a “viperous cocktail of space rock, Greg Lake-era King Crimson and free jazz”, and ever since their debut album, Ujubasajuba set Bandcamp buzzing in 2014, their records have been hidden classics of modern psych-rock for those in the know. It was their sophomore release, Ruination, in 2017 that established Kairon; Irse!’s place in the canon of Finnish genre-bending freakout fusion, bringing them widespread critical acclaim and a multitude of wild-eyed devotees to their astral-magic live-shows. Prog Magazine referred to their “propulsive storm of psych rock hiss’n’fizz”, and Kairon; Irse!’s carefully crafted song structures came to the fore on Ruination, flexing a newly-forged pop sensibility for reshaping past influences into a futuristic tour de force of consciousness expansion. The Guardian found their music “as invigorating as a dip in a Finnish lake”, with “a sense of the visionary and sublime”, featuring Kairon; Irse! as New Band Of The Week . Following a European tour in 2017, Kairon; Irse! set sails for a performance at Roadburn Festival 2018, securing their name in the heart of the underground as rising stars of psychedelic post-rock. As the new decade unfolds, Kairon; Irse! prepare to pour down their multicoloured dreams thru your cerebral cortex on their highly anticipated new 3rd album,Polysomn. A treasure-trove of glitching, elated sounds, that takes psychedelia into a new dimension, Polysomn brings to mind the melodic lightning of bands like Dungen, the chainsawing alternative guitar fuzz of My Bloody Valentine, the sparkle and dreamscape of Slowdive, and the technological envelope-pushing of Radiohead’s outsider works.