USA-IMPORT!!!Alternate mix of AMENRA's critically acclaimed Relapse debut De Doorn mixed with Seth Manchester at Machine With Magnets Studio.AMENRA’s first release for Relapse Records is at once a departure and a momentous act of deliverance. Stepping outside the run of albums titled Mass I-VI, De Doorn casts a 21-year journey from the heart of Belgium’s crusading hardcore scene to world-renowned, spiritually guided innovators in an enthralling new light.Ritual, remembrance and hard-won rebirth have always been at the heart of Amenra’s colossal, soul-purging approach. Centered around frontman Colin H. Van Eeckhout, but marked out by a transcendent unity of purpose, their albums have acted as totemic, personal marker points, a means to process individual grief as a shared, cathartic experience. Their live shows are acts of incendiary, communal exorcism that reach a cusp of sublime, out-of-body experience. A closely knit collective, they transport you to a febrile state where confrontation of pain, transformation and true healing can occur.AMENRA have always been profoundly bound to their hometowns around Flanders, the weight of that area’s war-torn history. The sacrifice and sense of a larger purpose that bridges the fragility of humanity and the pull of an immaculate ideal is carried as an ever-present resonance. No more is this apparent than in the spectacular, commemorative events the band have performed in recent years – to mark ending of the First World War; the band’s 20th anniversary; and the departure of long-time band member Levy Seynaeve. At the SMAK Museum Of Contemporary Art in Ghent’s 19th-century, monument-strewn Citadelpark in May 2019, they offered a communal recognition of loss and letting go. Here, audience members were invited to make their own offerings, placing personal notes of acknowledgment in wooden structures created by Indonesian artist Toni Kanwa Adikusumah, before they were brought out into the park and set alight as an act of recognition and release – a forging of hope from the flames.Written for the purpose of that rite, De Doorn (‘The Thorn’) occupies a place between AMENRA’s recorded and live work, less a testimony to the band’s individual bereavements, more an invitation for others to come forward, and to pass through darkness into light. Where the Mass albums have taken the form of solitary struggles whose fearless honesty has aligned itself to the most intrinsically human of chords, the dynamics of De Doorn are as stricken by destiny as ever, but sonically looser. Guided to a lesser extent by the band’s characteristically immense, behind-the-beat traction, it’s more lush, immersive, steeped in sonorous, cathedral-echo ambiences amplified to the point of static-infected instability and carrying passages of deeply intimate spoken-word that feel like being drawn in to the most hallowed of confidences. Its themes of dialogue and the passing of knowledge are echoed in the combined vocals of Colin and Oathbreaker’s Caro Tanghe. Her spectral presence on the opening Ogentroost acts as both counterpoint and complement to Colin’s stricken howl as the song cycles between enervation and helplessly compelled momentum. Their whispered devotions in the following, vast, hallowed atmospheres of De Dood In Bloei leave you feeling as though you’re bearing witness to the most private of conversations.The first AMENRA album to be sung entirely in Flemish, De Doorn imparts a universal power by digging deep into local customs. Not just allowing for a greater range of expression through the intimacy, allowances and layers of meaning granted by your native tongue, it takes inspiration from Flemish forms such as Kleinkunst, a folk-based musical wave driven by storytelling, and the passing of wisdom through generations. Yet as with every AMENRA release, De Doorn is an act of observance that recognises the path travelled by fully experiencing the moment, as a rite of consummation, reckoning and deliverance. That state of transition is exemplified in the closing Vor Immer, a hushed, plaintively wracked coda that bursts into newborn, world-in-your eyes transfiguration where sheer, sense flooding experience becomes a blazing threshold where rupture and rapture become one.The thorn is the most potent of symbols – in religious terms, a reclamation and an agony as a mark of transformation. It’s the nagging reminder of vulnerability and it’s the violent protector, without which beauty cannot thrive. For the cover of De Doorn, it’s been cast in bronze – a thing of value and a memorial, each band member given their own piece to symbolise their own pain and their belonging to the greater whole. In bronze, it is both nature and something else – a mark of singularity and a portal to a continuity that we all share. As AMENRA have acknowledged once more, it’s one that hears our call, even when we feel we are at our most alone.

USA-IMPORT!!!AMENRA’s first release for Relapse Records is at once a departure and a momentous act of deliverance. Stepping outside the run of albums titled Mass I-VI, De Doorn casts a 21-year journey from the heart of Belgium’s crusading hardcore scene to world-renowned, spiritually guided innovators in an enthralling new light.Ritual, remembrance and hard-won rebirth have always been at the heart of Amenra’s colossal, soul-purging approach. Centered around frontman Colin H. Van Eeckhout, but marked out by a transcendent unity of purpose, their albums have acted as totemic, personal marker points, a means to process individual grief as a shared, cathartic experience. Their live shows are acts of incendiary, communal exorcism that reach a cusp of sublime, out-of-body experience. A closely knit collective, they transport you to a febrile state where confrontation of pain, transformation and true healing can occur.AMENRA have always been profoundly bound to their hometowns around Flanders, the weight of that area’s war-torn history. The sacrifice and sense of a larger purpose that bridges the fragility of humanity and the pull of an immaculate ideal is carried as an ever-present resonance. No more is this apparent than in the spectacular, commemorative events the band have performed in recent years – to mark ending of the First World War; the band’s 20th anniversary; and the departure of long-time band member Levy Seynaeve. At the SMAK Museum Of Contemporary Art in Ghent’s 19th-century, monument-strewn Citadelpark in May 2019, they offered a communal recognition of loss and letting go. Here, audience members were invited to make their own offerings, placing personal notes of acknowledgment in wooden structures created by Indonesian artist Toni Kanwa Adikusumah, before they were brought out into the park and set alight as an act of recognition and release – a forging of hope from the flames.Written for the purpose of that rite, De Doorn (‘The Thorn’) occupies a place between AMENRA’s recorded and live work, less a testimony to the band’s individual bereavements, more an invitation for others to come forward, and to pass through darkness into light. Where the Mass albums have taken the form of solitary struggles whose fearless honesty has aligned itself to the most intrinsically human of chords, the dynamics of De Doorn are as stricken by destiny as ever, but sonically looser. Guided to a lesser extent by the band’s characteristically immense, behind-the-beat traction, it’s more lush, immersive, steeped in sonorous, cathedral-echo ambiences amplified to the point of static-infected instability and carrying passages of deeply intimate spoken-word that feel like being drawn in to the most hallowed of confidences. Its themes of dialogue and the passing of knowledge are echoed in the combined vocals of Colin and Oathbreaker’s Caro Tanghe. Her spectral presence on the opening Ogentroost acts as both counterpoint and complement to Colin’s stricken howl as the song cycles between enervation and helplessly compelled momentum. Their whispered devotions in the following, vast, hallowed atmospheres of De Dood In Bloei leave you feeling as though you’re bearing witness to the most private of conversations.The first AMENRA album to be sung entirely in Flemish, De Doorn imparts a universal power by digging deep into local customs. Not just allowing for a greater range of expression through the intimacy, allowances and layers of meaning granted by your native tongue, it takes inspiration from Flemish forms such as Kleinkunst, a folk-based musical wave driven by storytelling, and the passing of wisdom through generations. Yet as with every AMENRA release, De Doorn is an act of observance that recognises the path travelled by fully experiencing the moment, as a rite of consummation, reckoning and deliverance. That state of transition is exemplified in the closing Vor Immer, a hushed, plaintively wracked coda that bursts into newborn, world-in-your eyes transfiguration where sheer, sense flooding experience becomes a blazing threshold where rupture and rapture become one.The thorn is the most potent of symbols – in religious terms, a reclamation and an agony as a mark of transformation. It’s the nagging reminder of vulnerability and it’s the violent protector, without which beauty cannot thrive. For the cover of De Doorn, it’s been cast in bronze – a thing of value and a memorial, each band member given their own piece to symbolise their own pain and their belonging to the greater whole. In bronze, it is both nature and something else – a mark of singularity and a portal to a continuity that we all share. As AMENRA have acknowledged once more, it’s one that hears our call, even when we feel we are at our most alone.

USA-IMPORT!!!AMENRA’s first release for Relapse Records is at once a departure and a momentous act of deliverance. Stepping outside the run of albums titled Mass I-VI, De Doorn casts a 21-year journey from the heart of Belgium’s crusading hardcore scene to world-renowned, spiritually guided innovators in an enthralling new light.Ritual, remembrance and hard-won rebirth have always been at the heart of Amenra’s colossal, soul-purging approach. Centered around frontman Colin H. Van Eeckhout, but marked out by a transcendent unity of purpose, their albums have acted as totemic, personal marker points, a means to process individual grief as a shared, cathartic experience. Their live shows are acts of incendiary, communal exorcism that reach a cusp of sublime, out-of-body experience. A closely knit collective, they transport you to a febrile state where confrontation of pain, transformation and true healing can occur.AMENRA have always been profoundly bound to their hometowns around Flanders, the weight of that area’s war-torn history. The sacrifice and sense of a larger purpose that bridges the fragility of humanity and the pull of an immaculate ideal is carried as an ever-present resonance. No more is this apparent than in the spectacular, commemorative events the band have performed in recent years – to mark ending of the First World War; the band’s 20th anniversary; and the departure of long-time band member Levy Seynaeve. At the SMAK Museum Of Contemporary Art in Ghent’s 19th-century, monument-strewn Citadelpark in May 2019, they offered a communal recognition of loss and letting go. Here, audience members were invited to make their own offerings, placing personal notes of acknowledgment in wooden structures created by Indonesian artist Toni Kanwa Adikusumah, before they were brought out into the park and set alight as an act of recognition and release – a forging of hope from the flames.Written for the purpose of that rite, De Doorn (‘The Thorn’) occupies a place between AMENRA’s recorded and live work, less a testimony to the band’s individual bereavements, more an invitation for others to come forward, and to pass through darkness into light. Where the Mass albums have taken the form of solitary struggles whose fearless honesty has aligned itself to the most intrinsically human of chords, the dynamics of De Doorn are as stricken by destiny as ever, but sonically looser. Guided to a lesser extent by the band’s characteristically immense, behind-the-beat traction, it’s more lush, immersive, steeped in sonorous, cathedral-echo ambiences amplified to the point of static-infected instability and carrying passages of deeply intimate spoken-word that feel like being drawn in to the most hallowed of confidences. Its themes of dialogue and the passing of knowledge are echoed in the combined vocals of Colin and Oathbreaker’s Caro Tanghe. Her spectral presence on the opening Ogentroost acts as both counterpoint and complement to Colin’s stricken howl as the song cycles between enervation and helplessly compelled momentum. Their whispered devotions in the following, vast, hallowed atmospheres of De Dood In Bloei leave you feeling as though you’re bearing witness to the most private of conversations.The first AMENRA album to be sung entirely in Flemish, De Doorn imparts a universal power by digging deep into local customs. Not just allowing for a greater range of expression through the intimacy, allowances and layers of meaning granted by your native tongue, it takes inspiration from Flemish forms such as Kleinkunst, a folk-based musical wave driven by storytelling, and the passing of wisdom through generations. Yet as with every AMENRA release, De Doorn is an act of observance that recognises the path travelled by fully experiencing the moment, as a rite of consummation, reckoning and deliverance. That state of transition is exemplified in the closing Vor Immer, a hushed, plaintively wracked coda that bursts into newborn, world-in-your eyes transfiguration where sheer, sense flooding experience becomes a blazing threshold where rupture and rapture become one.The thorn is the most potent of symbols – in religious terms, a reclamation and an agony as a mark of transformation. It’s the nagging reminder of vulnerability and it’s the violent protector, without which beauty cannot thrive. For the cover of De Doorn, it’s been cast in bronze – a thing of value and a memorial, each band member given their own piece to symbolise their own pain and their belonging to the greater whole. In bronze, it is both nature and something else – a mark of singularity and a portal to a continuity that we all share. As AMENRA have acknowledged once more, it’s one that hears our call, even when we feel we are at our most alone.

RESTOCKED!!! 'Live II' takes songs from performances in Belgium's Brussels and Kortrijk.

amenra´s mass I. 

first time on vinly. amen ra´s mass I. 

Fieser SlowMotion Sludgecore mit gewaltigen, sägenden Gitarrenwänden, eher im Hintergrund bleibenden, qualvoll geschrienen Blut- und Tränen-Vocals und totaler Endzeitstimmung. Eine gewisse Seelenverwandschaft zu Neurosis, Isis oder Pelican lässt sich zwar nicht leugnen, Amen Ra verzichten jedoch völlig auf epische Ausflüge und elektronische Spielereien und setzen nur auf Brachialität und die Monotonie der sich wiederholenden Gitarrenläufe und erzielen damit monumentale Grösse. Dies spiegelt sich natürlich auch in der Länge der Songs wieder. Sicherlich nicht der passende Soundtrack zur nächsten Familienfeier aber zur dunklen Tages- oder Jahreszeit mit Sicherheit ein Erlebnis.

This record really defines the AMENRA sound : a mix between dark post-metal and rough sludge with screamy and oppressive vocals.

RESTOCKED!!!! Amenra is simply brilliant, the shape of darkness and light at the same time. A music to discorver your inner self.

Amenra is simply brilliant, the shape of darkness and light at the same time. A music to discorver your inner self.

Schwarze Messen, Drone und Passion die einen aus der Umlaufbahn wirft. Amenras verwirrender und faszinierender Sound vermischt surreale Melodie und verdrehte Subtilitäten mit aufgewühlten Rhythmen, fetten Riffs und harter Dynamik. Sehr kraftvoll im Sound, abwechslungsreich im Tempo und sehr abgerundet im Albumkonzept. Hier gehts eher um die Atmosphäre als um ausgeklügeltes Songwriting. Für Neurosis-Fans, nicht nur wegen Scott Kelly Beteiligung, ein Muß! 

great Split-LP by Ancient Emblem from the Basque Country and Deadache from Gothenborg, Sweden

Two great neo-crust bands on the common split. Ancient Emblem are coming from Spain and their neo-crust massacre is heavily influenced by black metal sound. Social Crisis coming from Poland and they play heavy dark emo-crust / d-beat. A really great split LP

PRE-ORDER!!!! Out 18th of September 2020

PRE-ORDER!!!! Out 18th of September 2020

Pressing Details: 100 x Ultra Clear with transparent purple and black splatter, 100 x White with black color in color, 300 x Clear, 300 x White + 200 x Black, Download Code, A2 Poster, 420gram Cover, 180gram Vinyl Split LP from Berlin based blackened crust collective ANCST and KING APATHY (formerly known as THRÄNENKIND). With these new songs ANCST is heading out into much more melodic territories while still featuring the aggression of former releases. This split delivers 2 new songs of bastard sound black metal / hardcore crossover that takes no prisoners. KING APATHY contribute 2 new songs with opressive atmosphere instead of blazing speed or brutality. KING APATHY change effortlessly between melodic metal, post black metal, crust, post rock and hardcore punk without putting obvious priorities or rather core areas. The focus - still - lies on creating a sound of melancholy as well as lasting impressions.  

Pressing Details 2nd Press: 150x green with black haze + 350x black Vinyl. All LPs in 180gram, printed heavy innersleeve, heavy coverjacket Epic Neo-Crust like EKKAIA, ICTUS, old FALL OF EFRAFA of the amazing MADAME GERMEN!!! Anopheli is a project created between friends living in different countries. Jasmine, Brian and Josh all live in California and Alex (Light Bearer, Fall Of Efrafa...) lives in London. It started off as a lovely idea of immortalising a friendship with a musical project. Anopheli is taken from the word Anopheles, the greek scientific term for Mosquito, which means "good for nothing." Our first record is called "A hunger rarely sated." This is defintly a band that reminds to EKKAIA, ICTUS, old FALL OF EFRAFA of the amazing MADAME GERMEN! please check this out!

Pressing Details: 200x black with orange haze, 800x black vinyl, 180g Vinyl, printed innersleeve, download code, Artwork by Alex CFThe soundtrack to abject poverty and despair. A double-time walk through dilapidation and deterioration. One dare not slow down to take it all in. The energy is crust, but the atmosphere is sludge. Powerfully emotive and dark. features members of Fall Of Efrafa, Monuments Collapse, Light Bearer...

Nach zwei herausragenden Singles haben es Antiproduct aus den USA endlich geschafft ihre erste LP zu veröffentlichen – und die hat es in sich: 8 Songs powervoller, wütender Anarcho-Punk mit Emo-Hardcore-Einflüssen und wechselseitigem Frau/Mann-Gesang. Dazu eine großartige, superfette, energiereiche Produktion, die dem Sound zusätzliche Power verleiht und gute, analytische politische Texte, die vor persönlichen Einflüssen nicht zurückschrecken. Die LP kommt – wie bei Skuld Releases üblich – in fantastischer Aufmachung mit A-4-Booklet, superschönem Artwork und 2 Posterbeilagen! 

ANTLERS is a new band from Leipzig but the folks behind this outfit are not Germans, they are from Spain and Catalonia. The members, played in such renowned acts like EKKAIA, COP ON FIRE or SANGRE DE MUERDAGO (which are still active). They proof that punks can play black metal. The music ranges from atmospheric midtempo black metal towards the fast stuff. Due to the highly left wing political background of their ex-bands it seems to be sure, that ANTLERS is another bm-band which is cool (aka antifascist) plus their music sounds fucking awesome. 

Leipzig based ANTLERS’ second album turns out to be a 9 track bastard of blackened, melodic, introspective tunes and words that were not just played to be recorded, but bled, sweated and screamed on tape!"Beneath. Below. Behold" is an atmospheric and emotional journey that drags you down into the abyss of the human being, full of cryptic messages and diverse collaborations. It gets you drowned into the void of loss, love and hate and at the same time brings you out of the deep black waters to the healing surface and above. Over 50 minutes playing time.

Pressing Details: 100x limited colored + 400x black Vinyl, 180gram Vinyl, LP-sized insert, Download Code, Artwork by Alex CFHailing from London via Spain and Germany, Arboricidio play raging emo crust, a visceral pandemonium of weaving guitars over heavy d-beat, bringing to mind the legends of A Coruña, Ekkaia, Madame Germen and Ictus -  with vocalist Amy’s venomous scream howling across desolate landscapes of collapsing pylons, bitter winds and withered trees. Featuring a member of Morrow, Guest vocals by Alex CF, for fans of Ekkaia, Madame Germen, Gattaca, Landbridge and Hyena