Voluptas Discuss Classical Culture, Black Metal, Saxophones and… Twin Peaks?

Harakiri for the Sky – ‘Mӕre’ [Album Review]

Old Castles – ‘Die Wampyriskra Symphonie’ [Album Review]

Sagenland – ‘Oale groond’ [Album Review]

Horna – ‘Kuoleman Kirjo’ [Album Review]

Getting Back to Our Roots with Wardruna’s Einar Selvik [‘Kvitravn’ Livestream Review]

Enter Our Massive Label Giveaway and Victory (Records) Can Be Yours!

Ceremonial Castings – ‘Salem 1692 (MMXX)’ [Album Review]

Zebadiah Crowe – ‘The Cloven Hand’ [EP] [Album Review]

Ymir – ‘Ymir’ [Album Review]

Gryftigæn – ‘Graven til Måneåpenbaringer’ [Album Review]

Jeremy Inkel – ‘Hijacker’ [Album Review]

Second To Sun – ‘Leviathan’ [Album Review]

Isolert – ‘World in Ruins’ [Album Review]

Puscifer – ‘Existential Reckoning’ [Album Review]

Mörk Gryning – ‘Hinsides Vrede’ [Album Review]

Enslaved – ‘Utgard’ [Album Review]

Uada Read this Interview with Singer and Guitarist Jake Superchi on the New Album ‘Djinn’

A Game of Musical Preferences with Finntroll Frontman Mathias “Vreth” Lillmåns [w/ Audio]

Wayfarer – ‘A Romance with Violence’ [Album Review]

Finntroll – ‘Vredesvävd’ [Album Review]

Illkynja – ‘Sæti Sálarinnar’ [Album Review]

Behemoth’s ‘In Absentia Dei’ Livestream was a Night No Church Will Forget [Show Review]

Ulver – ‘Flowers of Evil’ [Album Review]

UADA – ‘Djinn’ [Album Review]

The Devil’s Trade – ‘The Call of the Iron Peak’ [Album Review]

Panzerfaust – ‘The Suns of Perdition – Chapter II: Render Unto Eden’ [Album Review]

Naglfar’s Kristoffer W. Olivius Discusses ‘Cerecloth,’ True Metal and Getting Older [w/ Audio]

Gaerea – ‘Limbo’ [Album Review]

Osi and the Jupiter – ‘Appalachia’ [EP] [Album Review]

Black Funeral – ‘Scourge of Lamashtu’ [Album Review]

Cape Town’s Constellatia on ‘The Language of Limbs,’ Unique Merchandise, and Classical Composers [w/ Audio]

unsplash-logoLilith Redmoon