From Transylvania hails Răzbunare, a black metal band formed in 2024.
They are active and known for their raw black metal sound, with lyrics in Romanian focusing on themes like Romanian nationalism, history, war, and pride.
Their third album was just released by D.T.B. Records, with CD available right now and LP coming later.
Vong is a one-man black metal project from Hanoi, Vietnam, led by an artist known as Indigo Tongue.
Formed in 2018, Vong is known for its raw black metal sound, heavily influenced by the early 1990s Scandinavian second wave, while incorporating themes of Vietnamese history, mythology, and folklore.
D.T.B. Records will release their sophomore album “Phạn Hàm” internationally.
CD and LP coming soon!
In this self-titled voyage, Nathair conjures a tempestuous black metal that both honours its lo-fi roots but also transcends them with wakened sharper clarity. The production once cloaked in a gauzy, mist-like haze, now unfurls revealing intricacies that were previously shrouded. Guitars hiss and sear with volcanic fury, yet the mix allows each tremolo-picked cascade to breathe, each blast-beat to resonate, as if the music itself pulses with a living heartbeat.
A chill wind sweeps across this album where a songwriting bloom that springs from the duo’s earliest seeds, now unfurling in sharper relief. The guitars coil as vipers beneath a moonless sky, and the drums as summoning storms on distant, frozen plains. Yet even in this unrelenting blackness, there is room for nuances, at moments, the rhythm loosens into jagged, almost folk-tinged cadences, as if peering ahead to the acoustic blend that appears later on the eighth track dismantling the fury and offering a fleeting reprieve before the final descent.
This is not the saw-edged attack of the prior six tracks but something more spectral, an aural hallucination that beckons one to peer into abysses of solitude.
The closing piece, a dark ambient piece recalling the duo’s debut yet refracted through the lens of newfound purpose. This record is a crucible that gathers grief, rage, and transcendence into a single, shivering form. One is drawn into scenes of cosmic decay, blood-soaked ice, phantom fortresses beyond oak doors, only to be cast adrift in mist and emptiness.
There is beauty here, but it is the beauty of frostbitten roses and twilight necropolises, fragile and fleeting, their petals wilting even as they bloom. When the guitars recede and the ambient haze closes in, one stands breathless at the edge of everything known.
The record leaves behind a trail of flickering lantern light, guiding wanderers deeper into the night’s embrace, beckoning the listener to feel the rasp of frost on their skin, to taste iron on their tongue, to smell the acrid smoke of stars burning out. So close your eyes and press play once more and let the serpent’s coil, let the fires blaze, and let the mist enfold you in its silent symphony.
Courtesy of @maodagloria
D.T.B. Records will release their self-titled debut album internationally. Pro-Audio Tape coming soon!
First full-length by MCM and simultaneously the announcement of its demise.
After 8 years of existence, MCM returns back to the rotting crypt it emerged from, and this its swansong. 30 minutes of bizarre, furious and deadly Punk-ish Black Metal madness with
elements of Dungeon Synth, Industrial and Post-Punk music, reminiscing the late 90s scene with acts like Corneus, Grausamkeit, Eispalast but with a more primitive, bludgeoning Punk-leaning sound.
Courtesy of @ritesofpestilence
A debut that uses the black metal intensity with a reverence for Japanese cultural and literary motifs. This project, a one-person act, combines a good amount of aggression but also a quirk for instrumental melodies, always quite saccharine, striking a balance that honours its influences while carving its own identity. Rooted in the thematic and aesthetic vision of Yukio Mishima’s novel “Patriotism”, the album resonates with an artistic obsession for sacrifice, honour, and enduring devotion.
“Yuukoku” draws some comparisons to the militant fervour of Vothana, especially in the last track, but clearly with more refinement, leaning into structured compositions that accentuate melody without sacrificing the harshness bound to black metal, mirroring the album’s conceptual duality of life and death, loyalty and loss.
The tracks unfold as narratives, evoking battle cries, introspection, and moments of transcendence.
Elevating beyond a mere homage to its influences is its commitment to thematic and artistic integrity. The album is steeped in the aesthetics of Japanese nationalism, conveyed through lyrical content and its imagery, creating a cohesive atmosphere, pulling the listener into a world where the music and concept are inseparable.
Kyokujitsushou’s debut is not just an album but a declaration of artistic intent and a tribute to the enduring power of black metal as a vessel for personal and cultural struggle.
Courtesy of @maodagloria
CD is sold out (for the time being) but LP is still available!
Third full-length from the Norwegian tyrants. A band that should need no introduction, having achieved notoriety already as an atavistic modern classic, Kaevum unleash 6 tracks of audial terror and tormented evil against the Abrahamic godhead.
Two years after the blistering second full-length, “Kultur”, “Ultra” follows the project’s bloodline, inspired by the blitzkrieg winds of Scandinavian acts like early Gorgoroth, Helwetti, Clandestine Blaze, Satanic Warmaster, etc.
The third record and debuting album of this act, part of Mystic Glory Order.
“The Struggle for Existence” marks a pivotal evolution, not only consolidating the lo-fi brutality familiar from their earlier releases, but also venturing boldly into new sonic territories. While traces of influences such as Eisenwinter, Rostorchester or Totale Vernichtung can still be discerned, the record distinguishes itself with a noticeably brisker tempo and an infusion of the saccharine Finnish flavor, a refreshing twist that propels the music forward.
Eisenblut succeeds in blending aggressive riffs and abrasive vocal delivery interwoven with faster, more dynamic passages that give the album its unique identity, but despite that, there is still room for the unexpected. The last track, a cover from Gigi D’Agostino “L’amour toujours” which transforms a well-known song into a surprising testament to Eisenblut’s creative audacity and adds a quirky counterpoint to the album’s relentless energy.
CD is already available, with LP coming soon!
