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1997 album reissued by Awakening Records. Formed in 1995, PANDEMIA is a legendary death metal outfit from the Czech Republic. Throughout its existence, the band has been known for its raw, aggressive sound and lyrical themes that delve into darkness, personal demons, nihilism, and societal critique. Each release includes bonus tracks and a 16-page booklet featuring lyrics, rare photos, and extensive flyers. This is the ultimate retrospective of early PANDEMIA material. Not to be missed by fans of old-school death metal!

2002 album reissued by Awakening Records. Formed in 1995, PANDEMIA is a legendary death metal outfit from the Czech Republic. Throughout its existence, the band has been known for its raw, aggressive sound and lyrical themes that delve into darkness, personal demons, nihilism, and societal critique. Each release includes bonus tracks and a 16-page booklet featuring lyrics, rare photos, and extensive flyers. This is the ultimate retrospective of early PANDEMIA material. Not to be missed by fans of old-school death metal!

1999 album reissued by Awakening Records. Formed in 1995, PANDEMIA is a legendary death metal outfit from the Czech Republic. Throughout its existence, the band has been known for its raw, aggressive sound and lyrical themes that delve into darkness, personal demons, nihilism, and societal critique. Each release includes bonus tracks and a 16-page booklet featuring lyrics, rare photos, and extensive flyers. This is the ultimate retrospective of early PANDEMIA material. Not to be missed by fans of old-school death metal!

PRECIOUS EUROPEAN THRASH METAL MATERIALS! Since 1981, singer/guitarist CHARLY STEINHAUER and drummer AXEL BLAHA have been active in various formations in Würzburg, Lower Franconia. In the beginning, however, the group names and other members are constantly changing, so it is only in February 1986 that you can speak of a real band and rename yourself to PARADOX. PARADOX's two full-length albums, PRODUCT OF IMAGINATION and HERESY, released in 1987 and 1989 respectively, have become undisputed masterpieces, and their extensive demos, recorded in 1988 and 1990, are equally invaluable but have never been released. Awakening Records is now licensed by PARADOX to officially release these materials. This excellent compilation is titled "THE DEMO COLLECTION VOL. 2 1988-1990". The 16-page booklet features numerous rare photos, flyers, a biography of the band, and a specially created PARADOX family tree. A must-have for your collection!

THE UNDERRATED QUÉBEC DEATH METAL GEM! Québec, Canada-based death metal band PUTRICID was formed in 1989 and was originally called PUTREFACTED CADAVER. In the early 90s, they released two demos entitled "Putrefacted Cadaver" and "Suppuration" with brutal riffs and relentless vocals. Awakening Records is proud to be officially licensed to release the killer death metal materials for the first time on CD, all tracks have been remastered and one new song recorded in 2021 will be available as a bonus. Featuring new cover artwork, the 20-page booklet includes all lyrics, numerous early photos and flyers, and a biography of the band in English and Chinese. Dedicated to all maniacs obsessed with old-school death metal!

Death Metal from Chile. Compilation CD which includes: Necropolis EP (2017), Eternal Cycle of Death EP (2017), Live for the Death Live Album (2018) plus a cover song (track 11) & a single song (track 15).

RUDRA is one of the most majestic legends of the Asian extreme metal scene! Since their existence in 1992, they have released ten highly acclaimed studio albums. Now, RUDRA returns to its roots and promises to deliver a relentless sonic assault with its highly anticipated new album, ANTITHESIS. It features shorter, faster, and more aggressive tracks than the epic soundscape of their previous album, Eight Mahavidyas. Guitarist Vinod describes the album as a raw and dynamic experience: "This album allowed me to channel the raw power of metal into something deeper. Expect shorter songs with a dynamic mix of fast, aggressive sections balanced by atmospheric moments, designed to take listeners on a profound journey." Guitarist Devan adds, "The guitar sections are driven by epic melodies and relentless rhythms, delivering an intensity that keeps the headbanging going from start to finish." Inspired by the iconoclastic medieval Sanskrit text Dashashloki, Antithesis showcases ten aggressive tracks highlighting Rudra's signature fusion of brutality and depth. Drummer Shiva reflects, "My drumming on this album is focused on enhancing the groove while staying true to the melodies, creating a cohesive and powerful sound throughout." Vocalist/bassist Kathir says, "It's been a long time since we've unleashed such a relentless set of songs." Antithesis promises to deliver a relentless sonic assault, bringing Rudra's signature Vedic metal, with its fierce intensity and intricate songwriting, back to the forefront.

30 YEARS OF VEDIC METAL!! ASIA'S EXTREME METAL LEGEND! THE PIONEER OF VEDIC METAL! RUDRA, the name of the Indian deity of Destruction; conjures the scene of death and destruction. Just like the deity, RUDRA, the band, was named so to symbolize the aggressive character of its music. A legend in the Asian Metal scene, RUDRA was established in 1992. Since its humble beginning as a Death Metal band, the band went on to pioneer the evolution of a new genre of Death-Black Metal music called VEDIC METAL. The music of RUDRA, Vedic metal, can be characterized as a bridge between the east and the west: incorporating Indian traditional music, Sanskrit chants, and mantras into Death/Black Metal. This unique musical creation is what is known to the world as Vedic Metal. Awakening Records is proud to reissue RUDRA's Brahmavidya trilogy! All albums feature new hand-painted covers and layouts. The stories behind the albums written by the producer of the trilogy, as well as prefaces for each album and notes for each track written by RUDRA, are presented in both English and Chinese.

Hailing from Lappeenranta, Finland, the death metal quartet SCYTHROW was formed in 2020. Initially set out to play thrash metal but gradually developed a Chaotic Death Metal sound. Now, they are ready to leap even deeper into the depths of old-school death metal with a full-length release. The album mercilessly titled "Blameless Severed Extremities" by SCYTHROW. It combines rapid-fire blast beats, brutal chugging guitar riffs, and raw and wrathful vocals that are bound to drag the listener into a violent death metal experience.

Black n´ Roll/Speed/Thrash Metal from Mexico! CD jewel case + 12 page booklet + Obi + sticker. Metal Coffin Records (2024).

Australian Funeral Doom/Death Metal! CD jewel case + Obi + Sticker. Limited to 300 copies. Metal Coffin Records (2025)

Debut album of Austrian Doom / Death Metal originally released on Napalm Records!

WELTENFEIND issued version of this classic release from 1996 on galaxy red/black mix vinyl. Come with A4 sized insert including lyrics. Features bonus song WERGUILD originally only appearing on the demo cassette version.

Occult and Vampyric Symphonic Black Metal Magick from the depths of Astral Chaos! Spellbinding atmosphere filled with synth-scapes and lyrics that lift the veil from the Abyss, revealing the Serpentine path! Recorded in the Serpent's Chamber from 1996 - 1997 on a portable 4 track recorder, this cult underground second album, that did not originally see a release until 2005 is finally out again on tape. Transparent green pro-tape with 6 pages booklet. Limited to 200 hand numbered copies.

BEHERIT require no introduction. Arguably the most influential black metal band from Finland and no doubt one of the most infamous regardless of locale, mainman Nuclear Holocausto Vengeance has always followed his muse no matter where it takes him. And that certainly proved true with the synapse-frying EP Messe des Morts.

Originally released in 1993 on 7" vinyl by the notorious Necropolis Records, Messe des Morts immediately followed BEHERIT's landmark Drawing Down the Moon. Whereas that album not-to-so-subtly hinted at the electronic textures to come, with Messe des Morts did Nuclear Holocausto Vengeance completely subvert expectations. The content itself was similar to what came before - albeit in a wilder and more chaotic iteration, if that can be believed - but it was the FORM where BEHERIT severed itself from convention, black metal or otherwise. Incredibly unorthodox at the time, everything across Messe des Morts seemed to stem from the crudest "instruments," if they were actual instruments at all; given the scattershot drum-programming and the layers of drill fuzz across everything, it could be believed that the EP was entirely synthetic. And frighteningly so: Messe des Morts was utterly unhinged and ALIEN, especially Vengeance's vocals, and served as a giant FUCK OFF to the rest of the scene before BEHERIT delivered the all-electronic H418ov21.C the next year.

Naturally, Messe des Morts caused confusion and frankly upset most who heard it, but that has been part of the genius of BEHERIT lo these past three decades. An absolute classic of true black metal unorthodoxy, Messe des Morts receives a LONG-overdue standalone reissue courtesy of WEREWOLF, and will be available across all formats.

BEHEXEN should require no introduction. One of the longest-running Finnish black metal bands, BEHEXEN have patiently spread out their album releases in such a manner that each serves as a tome, a poignant snapshot of that era of its creators, with each being unique in its headspace but undeniably coming from the same visionary minds. But prior to essential early albums like 2000's Rituale Satanum and 2004's classic By the Blessing of Satan, BEHEXEN had recorded a trio of equally compelling demos - and even one prior, under the moniker Lords of the Left Hand, in 1995.

That is where Beyond the Four Gates comes in. Truly titled, this massive double-disc collection conveniently compiles the original three BEHEXEN demos and the preceding Lords of the Left Hand one, making for over an hour and a half of ancient black metal music. Lords of the Left Hand's lone demo, Reality is in Evil..., leads off Beyond the Four Gates, and even back then, the foundation for the first era of BEHEXEN - which culminated in (and concluded with) Rituale Satanum - was in place, all hulking plod and clanging cold guitars. Following on the first disc is BEHEXEN's first official demo, Eternal Realm. Here, the cold clang is suffused with more energy and, more crucially, medieval synths: a poignant snapshot of 1997 indeed. From those sessions is included a cover of Rotting Christ's "Sign of Evil Existence." Come 1998's Blessed Be the Darkness demo, BEHEXEN would begin showing signs of the sound that would come to define that first era. Colder, crueler, faster, and fueled by founding frontman Torog's increasingly inhuman throat, this demo presciently forecasted the filthy & furious idiom of Finnish black metal that would bloom during the looming new millennium. Before that millennium arrived, BEHEXEN recorded the previously unreleased Promo '99, which closes out this collection. Five of the six songs on this promo would be re-recorded for their pivotal debut album, but in comparison to the bass-heavy thrust of Rituale Satanum, it's interesting to hear these tracks with the ripped-yet and yet wide-open soundfield of By the Blessing of Satan four years later...which all underlines the fact that BEHEXEN's vision has been far-seeing for ages now. Enter Beyond the Four Gates and receive wisdom manifold.

Comes with massive 24-page booklet. By now, DECEASED need no introduction. One of the longest-running American death metal bands, since 1985, DECEASED have been there for it all: death metal's genesis, its creative peak, its commercial peak and subsequent sink into trendiness, the eventual fallout and "un-trendiness," its rebirth at the hands of a new generation, and on and on. There they have stood, simply and 100% always DECEASED, not caring what year it is or what is hip - simply, always, DEATH METAL FROM THE GRAVE!

And across their sizable-yet-succinct discography, at their heart, DECEASED have always been a great HEAVY METAL band. They proved it with 1997's landmark Fearless Undead Machines and continued to prove it with every album thereafter, with 2018's Ghostly White showing that even this MANY years on, their pistons are pumping harder and more creatively than ever.

During those past three decades, DECEASED have not been without ambition. Even when stretching the limits of complexity like on 1995's The Blueprints for Madness, true-to-death storytelling has always been at the fore of their work, vividly illustrated by the characteristic throat of founder / former drummer King Fowley. And although Fearless Undead Machines was perhaps the apex of that storytelling, never before have DECEASED attempted such an emotional, topically rooted-in-death album...until now!

Enter Children of the Morgue, DECEASED's darkest record to date. The album's concept is on dying and all that it entails, and suitably do the band integrate nearly every element of their past and present arsenal into its 55-minute runtime. "There will be fast parts, slow parts, melodic parts, noisy parts, and everything in between," Fowley claimed pre-release, and he's not wrong! But how DECEASED manage to thread everything together so seamlessly speaks to the strength of their songwriting - always recognizable, but never resting on past laurels. Here on Children of the Morgue, moody-yet-melodic riffing and lead-work take center stage as Fowley narrates this epic-length tale of life and death. The album's exceptional pacing and engaging, always-going-forward song constructions heighten the sensation that the record is a lot shorter than it actually is; however, if one was to do some quick math, he'd surmise at least half these tracks are indeed EPIC - at or above the eight-minute mark. Nevertheless, the sum effect is mesmerizing and even majestic, unremittingly DARK as the subject matter may be. The final icing on the cake (or slamming of the morgue's doors?) is the warm & rustic recording courtesy of Oblivion Studios, where the aforementioned Fearless Undead Machines and co-classic Supernatural Addiction were rendered onto tape.

Nearly 40 years since their formation, DECEASED show no signs of stopping - and, in fact, are arguably more potent than ever. You can now add Children of the Morgue to their list of undeniable classics...but this is not the end!

Since 1997, DESTRUKTOR have been proudly flying the flag for Australian extreme metal. While quite often do their recordings come within large gaps of time - their second album, Opprobrium, was released back in 2015 - these Aussie tyrants have been patiently honing a sound that seethes with the war-metalled fire their homeland's world renowned for, yet over the years finessed with an acute attention to propulsive, immediately memorable songcraft. Black metal, death metal, thrash, "war metal," whatever: DESTRUKTOR are their own paradigm by now, and it is eternal.

Such is the case with their long-awaited third album, Indomitable. All-too-perfectly titled, Indomitable sounds like it could've come at any point in DESTRUKTOR's quality-over-quantity career: eight stout tracks of scathing, surging, no-nonsense extreme metal. Indeed, founding vocalist / guitarist Glenn Destrukor and longtime drum-tornado Jared maintain the same, singed-black rage that have made their two full-lengths and two EPs such touchstones of Down Under extremism, but here they are joined by old friend / new addition Chris on bass, who exhibits the best low-end work on any DESTRUKTOR recording and fully complements their characteristic chaos vs. control dynamic. Lean and mean at 34 minutes just like its predecessor, Indomitable continues the band's proverbial sharpening of blades; their fury still walks that fine line between chaos and control - neither too blackened, nor too deathly, nor "thrashing" in any cliche way - but the clear-yet-crushing production (at Melbourne's renowned Toyland Studio) amplifies tenfold their scabrous assault, making it somehow grittier and more gleaming in equal measure. It's impossible not to get inexorably swallowed by the album's slipstream: Indomitable is death in sonic format, bereft of belief, joy, and light.

And yet, DESTRUKTOR can still surprise, for Indomitable features the band's darkest and most personal lyrics to date, fully committed to the concept of death in many forms. And, if we are to read into the lyrics of climactic closer "The Path to Lucifer," there's an allusion to returning to dust, but rest easy: after delivering undoubtedly their best work after 30 years of existence - truly, an exception to rule of metal bands wimping out or worsening as the years slog on - DESTRUKOR are in no danger of disbanding anytime soon.

Riff after riff, blast after blast, death after death, Indomitable is catchy-yet-unrelenting dark extreme metal for the dark and the darker. DESTRUKTOR are truly eternal.

By now, DRUADAN FOREST should require little introduction. From their demos in the late '90s to the fever of work from 2016 onward, this Finnish entity has created a vast and magickal world like no other. Naturally, it should come as no surprise given that mainman V-Khaoz is an incredibly prolific veteran of the black metal underground for over 25 years now, and concurrently numbers the likes of VARGRAV, EMBRYONIC SLUMBER, and GRIEVE among his endeavors. With DRUADAN FOREST, however, the emphasis has always been on atmosphere and its transportative qualities. Whether the medium is ominous, titanic-gait black metal, cosmic ambient, pure dungeon synth, or some symbiosis of those, it matters not: the story - and the voyage - from this realm to another is paramount.

After the interstellar ambient of 2022's Portals, DRUADAN FOREST returns to a medieval age with Dismal Spells Part 2 - The Night Circus. As spelled out by its title, Dismal Spells Part 2 - The Night Circus is a companion record to 2019's Dismal Spells From the Dragonrealm, arguably V-Khaoz's most massive work to date: four tracks across 73 minutes, a none-more-immersive journey that felt even vaster than its epic length suggested. While scaled back to 38 minutes and comprising eight component tracks, Part 2 is no less immersive; if anything, it portends more magick and daresay whimsy, further fleshing out DRUADAN FOREST's pure dungeon synth worldview. The track titles give credence to this parallel shift - "Moonlight Sorcery," "Summer Night Orgies," and "Spells and Magic Potions," for example - while others suggest specific locales, like "Wizard's Hut," "Witches Lake," and "Black Towers of Kharanos," altogether serving as a sonic canvas for RPGs in the flesh or within the shadow soul. For his part, V-Khaoz stays within the parameters of dungeon synth - and, indeed, that was the aim with Part 2 - but he's never skimped on its sonic palette, always rendering his tones in rich, 3D sound and tastefully embellished songwriting; this is far from the pre-programmed, one-note garbage borne of Bandcamp trendiness. Almost deceptively soothing at times, the sometimes-sparse canvas of Part 2 nevertheless reveals shimmering expanses perhaps more on par with Portals than the first part of Dismal Spells Part 2 - The Night Circus.

But no matter where you meet DRUADAN FOREST, the man remains a master of mood, and he again offers infinite landscapes on which to roam. Dismal Spells Part 2 - The Night Circus is suitably completed by breathtakingly olde-world cover art courtesy of Misa Horkio.

Since 2018, Arizona’s FLUIDS have been prolifically polluting the underground with their remorselessly disgusting brand of goregrind. While they no doubt made an impact with their first two full-lengths, 2019's Exploitative Practices and 2020's Ignorance Exalted, it was myriad short-length assaults where FLUIDS truly made their loudest / lewdest declaration of total goregrind purity: knuckle-dragging, ignorant, and intensely foul 'n' filthy. Come / cum 2021, FLUIDS would join HELLS HEADBANGERS' dysfunctional family and release their grand-reckoning third album, Not Dark Yet, followed by a vinyl reissue of their Fluids of Death compilation and, a year after that, the all-new Fluids of Death 2 compilation. And still, the toilet was not empty...

Now, the sewers erupt again and FLUIDS expel their fourth full-length, Reduced Capabilities. Immediately, the full force of FLUIDS is felt - a characteristic stream of slimy, speculum-spreading, all-caps GOREGRIND in the grand, drum-programmed 'n' fuzz-toned tradition of godfathers Mortician - but more so is Reduced Capabilities the band at their most stripped-down. No intros, no samples - rather, a rugged & raw and totally streamlined approach to the foulness that is FLUIDS. Sublime simplicity defined, and then defiled: nothing but blasting and slamming, slamming and blasting, blasting and blasting, and slamming and slamming. Reduced Capabilities also marks the first album with newer vocalist David Duran, who plumbs the absolute depths of his throats whilst evincing slightly more articulation than most goregrinders. And then, surprise of all surprises, FLUIDS end the album with a cover of Moby's "God Moving Over the Face of the Waters," which actually isn't so shocking given the band's past dalliances in filmic atmospheres.

"Less is more," more or less, and FLUIDS trim the fat with Reduced Capabilities!