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“Omgeving” is an experimental musical project from Dutch musician Franck Johanson (Distillator) where the listener is meant to interpret the sound as auditory landscapes, every texture part of a broader perception that has been created. The first Omgeving album crosses the boundaries of black metal, space rock, ambient, and doom. It is an entirely instrumental work based on conjuring imagery through soundscapes, through tones and frequencies that transport you through inner and outer space. This album should interest those who enjoy the slow buildup of layers, working with dynamics to build to a hypnotizing crescendo, shifting between subtle ambience to a piercing wall of sound. “Wijde Wijdte” will be released on a 6 panel digipack format through Hypnotic Dirge Records in December 2018, alongside a 10cm x 10cm sticker of the cover art, designed by Kuba Kujawa credits

Ov Shadows is a Black Metal band from Gothenberg, Sweden. Rising from the ashes of "Waning", a band that all four members previously played in, Ov Shadows introduced their sound with the 2016 self-released EP "Monologues" before releasing its first full-length album "The Darkness Between Stars" in 2018. This summer, Ov Shadows returns with their second full-length and first release on Hypnotic Dirge Records. Entitled "I Djävulens Avbild" (In the Devil's Image), the new record presents Ov Shadows at an unprecedented ferocity and forward-momentum, and apparently very intent on proving that to their listeners immediately, as pummeling drums and a heavy galloping riff fill the speakers within seconds of the opening track "Den Eld Som Tär Och Förvrider." Throughout "I Djävulens Avbild, the pace hardly ever lets up, instead taking you on an all-out sensory assault. The combination of infectious riffs, recurring hooks, blastbeats, and tortured vocals create an enveloping claustrophobic and dark dissonance, as if a shroud has covered your face and defined forms have turned to shadows. Despite its unrelenting nature, the details really shine through on "I Djävulens Avbild" thanks to its clear production, precise musicianship, and deliberate flow. The few times where the record does slow down become quite memorable due to the contrast. The use of powerful percussion and austere bass create a trance-inducing atmosphere while discordant tremolo-picked melodies soar overhead creating a wonderful juxtaposition that crescendos into catharsis. "Ov shadows is about exploring and embracing the dark aspects that dwell within us all – your ‘shadows-self’ as Carl Jung expressed it. Our vision is to create an atmospheric Black Metal guided by chaos and darkness." 4-Panel Digipak with 8-Page Booklet

Silent Path is another musical project from Saman Nu, the musician from Tehran, Iran behind the atmospheric Black Metal project, Ekove Efrits. While with Ekove Efrits, Saman creates a rich and textured atmospheric sound which is filled with soaring melodies, doom-laden ambience, and deep melancholy, Silent Path however is a completely different beast altogether. The sound is grittier, darker, and much less optimistic and brings together elements of down-tempo depressive black metal, funeral doom, and ambience. with a strong emphasis on soaring melancholic riffs. This album is a bleak hour-long journey into the depravity that humanity is capable of, and should appeal to all fans of depressive black metal, in particular those who enjoy Exiled From Light, and Ekove Efrits. This album was originally completed in 2009 and now finally gets an official release, complete with a 16 page booklet including lyrics, notes, and more.

Subterranean Disposition is an experimental death-doom recording project from Terry Vainoras, a veteran of the underground Australian metal scene spanning a career almost two decades in length and also known for his involvement with Cryptic Darkness, The Eternal, and Insomnius Dei. Originally inspired by and conceived as a follow up to the music Mark Kelson had written for his and Terry’s Collaboration on the Insomnius Dei album ‘Illusions of Silence’, the debut self-titled Subterranean Disposition album explores further the use of dissonance and ambience, lending more dynamics to the long passages of darkness and light, crafted from the influence of early 90’s doom metal and modern sludge with forward thinking embellishments in song writing. Also permeating the record are the use of female vocals courtesy of Pheobe Pinnock, and guest saxaphone from D'arcy Molan, both musicians from the Australian scene. Considering all the elements present in the album, you can expect nothing less than an all-encompassing, broading, dark, and experimental ride through devastating darkness on the debut Subterranean Disposition album.

The Haunting Green are Cristiano Perin (vocals, guitars, synthesizers) and Chantal Fresco (drums and percussions). Formed in 2012 and based on North-East Italy, their music is constantly going in the direction of a coexistence within the aggressive vibes of extreme metal with ambient-drone and dark electronic music. After a debut EP and collaborative split album, “Natural Extinctions”is their first full-length album which explores the inability of human beings to preserve their innocence and the bond with nature during their existence. The focus on “Natural Extinctions” is to merge extreme metal with the suggestive language of drone / ambient and ritual music, highlighting in some ways the "percussive" side of their music. This isn't an ordinary concept album but, actually, there is a hidden thread connecting the 7 tracks, relating the inevitable destiny of every human being to inhibit, suppress and lose, along his life, some of the most pure and atavistic aspects of their own soul, to adapt and live with the hostile environment that surrounds him. Adaptability on the one hand strengthens and leads to move forward, but, on the other hand, corrupts and makes us lose the most spiritual and pure side of us: the most precious.

Following on the heels of their 2013 full-length “Once Hidden from Sight” and a 2016 split with Nethermost (USA), it’s hard not to notice the risen ambitions and wider scope presented on Vin de Mia Trix’s new double-album “Palimpsests”. The Kyiv-based band has always combined various doom metal genres and influences and aimed to create intelligent and touching, yet uncompromisingly heavy and dark music, but the songwriting depth, versatility, and atmosphere on “Palimpsests” is on another level compared to their past albums. Palimpsests is an album about archetypes, the stories and characters that exist deep inside our collective subconsciousness, stories so significant and influential that they appear in various peoples' and cultures' mythology. Concepts like rebirth through sacrifice, stealing knowledge from the gods, or the great cleansing flood can be found anywhere from Hinduism through Ancient Greek myths to Christianity, proving their importance in shaping societies and civilizations. These stories are told to this day, and “Palimpsests” album tries to retell them once again, adding to the eternal cycle. The name “Palimpsests” summarizes the spectrum of themes the band aims to convey and embodies the concept of multi-layered meanings and symbols expressed through musical, lyrical, and visual content. Musically, “Palimpsests” is rooted in Extreme Doom, venturing occasionally into the territories of Prog Rock and Post-Metal. Mixing and mastering were handled by Damon Good of the mighty Mournful Congregation, making sure the production quality matches the music's ambitiousness. The double album is presented as a 4-panel digipack with an exclusive 36-page booklet designed by the Kyiv-based Seri/graf Studio.

“The Heavens Are Not On Fire...is the debut album from Wills Dissolve, a progressive death metal band from Houston, TX. Equally atmospheric and aggressive, this album weaves its concept (“a meditation on religion, violence, and cosmic chaos”) through seamless, satisfying transitions between ambient and bold passages. Led by masterfully executed drum grooves and finished with blazing, melodic leads and crushing vocals, Heavens… is progressive, but never wandering. Although one can certainly recognize influences both named by the band (Opeth, Katatonia, Ihsahn) and surprising (Rotting Christ, In Vain, Kozeljnik, November’s Doom), nothing about this spectacular debut is derivative. The production is clean and balanced, perfectly restrained, allowing each element to shine through organically. The Heavens Are Not On Fire… transports the listener to The Great Meteor Storm of 1833, an event erroneously interpreted by North American Christians as the biblical apocalypse and later recognized as the beginning of a critical shift towards a secular understanding of celestial phenomena. Lyrically and musically, Wills Dissolve’s debut is worth the many listens it takes to appreciate its authenticity and originality. “No More Sanctity!”