[engl] this album is not to be taken lightly. Underestimate its power, approach it with inadeguate preparation, and you will be fucking destroyed by its immeasurable violence and sheer tonnage. SVFFER have brought to you a work of incendiary aggression that literally feeds off of violence. Comparable in intensity to bands like Alpinist (from which the band descends), Baptists, Tempest, Centuries, Oathbreaker, Glasses, Vestiges, Torch Runner and the such, SVFFER are authors of metallic and embittered hardcore punk which knows no boundaries or limits in its reach to annihilate the listener, and which presents us with a boundless hunger to reduce to ash anything which dares to stand in their path. Coming once again as a 12? vinyl LP from Vendetta Records, this monstrous hardcore punk album is destined to set a new bar in sonic violence and redefine the concept of aggression in aural form.

[engl] "First of all a note for all the people needing a breather while listening to records: that will only occure while flipping the record. Always brutal, always heavy, very fast but nevertheless playful. Svffer from Bielefeld and Münster, Germany, are continuing with their LP “Lies We Live” where the promising self titled 7” left off. For these 13 songs the genre „Emogrindmotorcyclepopviolence“ should be invented, because every other description of this thunder storm might fail. It combines violent beats, intense tunes and screaming 'til the lungs bleed. This record is catchy and stays in the mind for quite a while and at the same time it is never dull. It is like an invitation to listen devoutly, swaying rhythmically or moshing angrily through the bedroom. genre

[engl] SVFFER from Münster and Bielefeld in the west of Germany, feat. members of UNREST and ALPINIST.Playing blackened hardcore with grindparts. Heavy, headbangable parts mixed with fast and loud powerviolence thrashing in under 7 minutes is what you get from SVFFER's first 7". Together with the almost brute shrieks by their female vocalist they manage to create a mind blowing chaotic atmosphere that leaves you breathless.

[engl] Deluxe double LP edition for the 3rd album from gothic doom pioneers THEATRE OF TRAGEDY. The album that cemented the band's status as a household name. This re-issue comes with an 12 panel booklet on LP size containing exclusive liner notes by the producer, previously unpublished pictures and extensive interviews and liner notes. The release includes 4 special bonus tracks. The ultimate edition for a very special and unique album that has stood the test of time... The entire release is mastered for vinyl

[engl] 'Sickness In' is the third album from Portland's most wretched, Trees. The band presents a two-song assault, each one roughly fifteen minutes in length, each a slowly rotting heap of droning slow-motion deathdoom riffs decomposing into clouds of black amplifier hum, high shrieking voices and tortured screams drifting against the glacial roar of smoking amp stacks and short-circuiting hardware. Where the previous album had Trees employing some interesting rhythmic chaos and longer stretches of ambient filth, this time around the band drops some of their most leaden, majestic riffs yet into their slow-mo filthstorm, massive saurian doom riffs slipping WAY out of the confines of 'groove' and deep into rumbling fields of charred ritualistic chanting and almost Abruptum-like states of psychotic noise. The first track 'Cover Your Mouth' crashes in on an avalanche of thrumming electricity and metallic noise, the crushing abstract heaviness collapsing in on itself, the rhythm section accentuating the rumbling black mass/mess with thunderous blasts of anti-propulsion. Trees have always seemed to have a somewhat improvisational feel to their extreme doom-laden horror, but just when you think that 'Cover' is on the verge of dissolving into a field of pure drone, the band unleashes titanic earth-scorching riffage. On 'Perish', the resonant sound of throat singing introduces a new wave of howling ambient feedback and speaker-hiss, but soon transforms into another twisted, agonized pain-dirge, those tortured vocals scraped raw, pain-wracked screams rising and falling behind the amorphous black sludge and diseased drones. Sickness in inhabits the same sort of black-tar depths as the likes of Burning Witch, Monarch, Khanate, and Bunkur while stripping the slo-mo heaviness into their own twisted, skeletal ( crucial blast )

[engl] ULTHA's debut record features four epic songs of dark, moody Black Metal somewhere between the traditional Scandinavian school and a more contemporary US-Black Metal approach. “Pain Cleanses Every Doubt” is for fans of Ash Borer, Xasthur, Leviathan, Christicide, Blut Aus Nord... The four songs often vary in speed and mood, yet always functioning as one big entity. A constant feel of urging darkness is present. This manifests in the omnipresent melodies which lure the listener in and also in the sophisticated, metaphor ridden lyrics about melancholia, depression, doubt and anti-religious believes. The record was recorded in the bands rehearsal space only a few months after the band's initial first rehearsal. There is a fine balance of a cold, rough feel to a full and heavy sound, embodied in a very mature songwriting for such a young band.

[engl] Members of Pisse, Lötfett and other bands did record a homage on classic 80s Heavy Metal with an ironic undertone. Zebra-Spandextrousers, adidas “trophy” boots, mullets, jeans cut-offs, motorbikes and music from Accept, U.D.O. and Helloween on every village fair was the main present of the west-german young rural population. And this record re-celebrates this with you in every single note.

[engl] Members of Pisse, Lötfett and other bands did record a homage on classic 80s Heavy Metal with an ironic undertone. Zebra-Spandextrousers, adidas “trophy” boots, mullets, jeans cut-offs, motorbikes and music from Accept, U.D.O. and Helloween on every village fair was the main present of the west-german young rural population. And this record re-celebrates this with you in every single note.

[engl] The "Hell's Unleashed" album was originally released in 2002. Here is the official 2022 repress.

[engl] The "Sworn Allegiance" album was originally released in 2004. Here is the official 2022 repress.

[engl] The "Victory" album was originally released in 1995. Here is the official 2022 repress.

[engl] The "Warrior" album was originally released in 1997. Here is the official 2022 repress.

[engl] Void Omnia is a five-member black metal outfit from Oakland, USA, created in 2013 and bringing together former members of Apocryphon, Mutilation Rites and Tombs among others. The band has released a demo in 2014 and “Dying Light” is its first full-length album, available via Vendetta Records. Void Omnia is, in terms of atmosphere, one of those bands that I like to call the “third path“. I am talking about those acts which although are diligent students of both classic diabolical Scandinavian sound and the naturalistic US and Canadian black metal, their own atmosphere is not built with eerie, naked 90’s riffs nor with ambient and natural sound themes.It’s rather based on well-written and well-played guitar riffs that create a sense of melancholic paranoia, a constant state of emotional over-stimulation. (reckoning hour)

[engl] Assuming, then, that “atmospheric” simply refers to a specific swelling, epic mood conjured by layers of rhythms and relentlessly climactic songwriting that corresponds to yet enhances distended pangs of neutral emotions, neither nihilistic nor depressive, then Vukari has indeed succeeded in this endeavor. The postmodern textures surprisingly add much-needed depth to the sound, which one might not even realize until the disc finishes spinning, which tells us that these influences are so smartly blended in that the overarching picture isn’t meant to be dismantled for further inspection. Vukari’s sound is something much bigger, much fuller than that would suggest, and their sophomore release is a good exercise in how to create a musical journey that cannot be indulged in pieces, but as a whole. It certainly seems that it was intended to be taken in thusly, suggesting an approach to songwriting that does more for quality than mere conceptual liberties, which means these guys knew what they were doing from the get-go. The album begins with a blast and ends on a whimper, and has a crescendo of joy in the middle to round it all off, and at any given time the guitars always want to disappear into the ether but are reluctantly kept aloft by prominently skilled drum work that at times (“Invictus Maneo,” “Ad Delerium II,” “Bathe in the Divine Light”) remind me of Deathspell Omega’s “Apokatastasis Pantôn.” The pattern is unmistakable, and it’s an interesting connection to that scene, and especially the opening track of this album, which is the only time we see Vukari truly experiment with dissonance (with the exception of “Invictus Maneo” which towards the end is both meandering and menacing like Skáphe), for the postmodern themes arguably win the day overall. Perhaps most impressive of all would be Vukari’s articulation of melody, which like any doom/death album that’s worth a damn, is steadied by deliberate, mid-paced tempos and thick atmospheres that slather on layers of melancholy. It is a fitting comparison, and a seeming contradiction given the previous statement, but the melodies don’t lie; the tempered stylistic approach borrows specifics from different subgenres and is delivered through an understanding that seeks to reconcile differences by focusing on strengths without creating conflict. The end result is an expertly balanced album with a fulcrum of black metal, which is quite a feat indeed, considering how far removed it can seem from the subgenre. Vukari is quite a special band in this regard, and this album represents a very early pinnacle of what could be a stellar career. " ( metal observer )

[engl] "Here’s a surprisingly awesome shard of hardcore I only just came across. What made me take interest was that VYST contains members of Throwers, Glasses, and Perth Express. VYST will surely join the ranks of other great new German hardcore acts if they haven’t already. “Try Again. Fail Again.” is a half-hour of darkly tinged hardcore with some great ferocity displayed in each of the nine tracks featured here. They dip into moments of melody on some of the longer tracks like “Towards the Cliff”, “They Run”, and “Count Me Down” and their briefness makes them all the more powerful. The production is quite good also, everything rings clear and sharp bringing out the heaviness of some of the slower, crunchy passages. Vocals are wonderfully raspy and hoarse, rending his throat as he runs through issues both bleak and uplifting, contemptuous and angry. VYST don’t rely on dissonance. Merely powerful riffs that move from high speed punk to a moment or two in sludgecore territory (almost) to a short melodic or melancholic (sometimes clean) section — briefly there will be in a few songs a rough tremolo passage just touching on something blackened. Not injected with the blazing sludge found in Perth Express and yet not being as strictly hardcore as Glasses, VYST have found a comfortable middle ground with a very minor blackened-crusty influence without completely falling into the ever-popular splinter genre of dark hardcore; and it works very well. Actually they probably have more in common with their brothers in Throwers than the other two groups which is more on the dark dissonant side of the sound. There’s some excellent arrangements to be heard on “Try Again…”, very catchy and abrasive, fast with some hammer-blow heaviness sprinkled at just the right moments. Quite an enjoyable listening experience all the way through but nothing that could be said to be “off the beaten path”. Just solid, head-bang-inducing hardcore." ( cvltnation )