From now on, our releases are available at “METAL ODYSSEY”, an exclusive eshop carrying the complete I, VOIDHANGER RECORDS catalogue, old and new: https://metalodyssey.8merch.com The METAL ODYSSEY Eshop provides worldwide professional delivery, fast and traceable shipping, first class customer service, and nice prices. From now on, we will use Bandcamp mainly for promotion and digital sales, while physical products will be available for purchase from our Eshop first, and through our usual distribution channels... read more
Denmark’s TONGUES debuted in 2014 under the flag of I, Voidhanger Records with “Thelésis Ignis”, a portentous 35-minute long EP which earned them the praises from the underground metal aficionados. Apparently swallowed by the shadows right after that promising release, TONGUES have simply kept a low profile and concentrated for 3 long years on the second chapter of their doomed spiritual journey. A journey that now spawns “Hreilia”, a new and exciting example of TONGUES’ audacious synthesis of black, death and doom metal, propelled by fiery riffs, magnetic melodies and mystical atmospheres. Enshrouded like its predecessor in an esoteric dark aura and graced by an apocalyptic cover painting by vocalist A. Lovmand, “Hreilia” delves even deeper into the realms of subconscious. “The underlying concept of the album was inspired by a dream; that’s where the word Hreilia comes from,” confirms drummer and lyricist C. Qvortrup. “That word held a significant spiritual value within the context of that dream. It symbolised a profound spiritual disappointment… a nightmare.” TONGUES’ pessimistic approach to the new album is quite evident even during its most aggressive moments, when the inner fire that characterized the previous EP bursts out nervously from the articulated structures of “Grove Of Mithridate” and “Theophagous Wounds Of Earth”, two examples of the band’s trademark style, hanging in the balance between utmost aggression and psychedelic meditation. As the album progresses, the melodies become slowly – yet steadily – more depressive and defeated, till when TONGUES’ ferocious inner struggle concludes and gives way to sadness and disillusionment. TONGUES is: T. Lovmand – Guitars and bass A. Lovmand – Vocals, additional guitars, synth,... read more
PREVIEW:� https://soundcloud.com/i-voidhanger-records/luup-92 � The project of Greek composer and multi-instrumentalist Stelios Romaliadis, Lüüp have a long history of excellence within the fields of chamber music, progressive folk and avant-garde. Voted by many as one of the best albums of 2011, their previous release “Meadow Rituals” captured on record the dark essence of British prog-folk. Six years later, LÜÜP are back with a new concept, a work of dark and ceremonial chamber music imbued with esoteric atmospheres and characterized by a black metal approach which reflects Stelios Romaliadis’ passion for the genre. Aptly titled “Canticles of the Holy Scythe”, the album is a concept about Death through occult philosophy; a journey of understanding and reconciliation with Death as a symbol of renewal through self awareness and enlightenment. It’s a superb cultural pastiche where superstitions and folk traditions entwine with the secrets of Alchemy and the Kabbalah, with Aleister Crowley’s magick and with ancient invocations of cosmic deities and astrological energies. LÜÜP’s chamber music is sombre, minimalistic yet elegant, often bordering on folk and ambient drone. It combines the aesthetics of black metal, Balkan folk polyphonic singing, the harmonic and rhythmic power of Igor Stravinsky and Bela Bartok, the micro-polyphony and developing stillness of György Ligeti & Giacinto Scelsi, and the dark music of Univers Zero and Art Zoyd. Apart from the acoustic orchestration alternatively combining violas, cellos, bassoon, double bass, flute, woodwinds, piano, santouri and percussions, “Canticles of the Holy Scythe” is dominated by the intense performances of some amazing vocalists. The fascinating “witch” Sofia Sarri sounds truly possessed during the demonic incantations of “9°=2° (Κόγξ ὀμ � ὰξ)”, while the mournful,... read more
PREVIEW:� https://soundcloud.com/i-voidhanger-records/the-clearing-path-ankhtkheperura-in-thee Gabriele Gramaglia, the young Italian artist behind SUMMIT – which debuted on I, Voidhanger Records in 2016 – is back on the scene with his oldest project, THE CLEARING PATH and with a pivotal release enclosing the circle of the otherworldly concept begun with the previous full-length, “Watershed Between Earth and Firmament” (2015). This time the music evolves in a way more complex opus which ranges from hellacious riffs and tremendous shrieks to atmospheric and meticulous progressions and passages of lucid insanity, exploring the most distant landscapes of the unknown cosmos and the most benighted and metaphysical aspects of the Universe, imprinting into the listener a profound sense of dismay and contemplation. The result is “Watershed Between Firmament And The Realm of Hyperborea”, a powerful and relentless album, variegated and eclectic yet organic and solid. A stellar work of extreme, dissonant metal madness, with ambient drifts and thoughtful soundscapes. THE CLEARING PATH is: Gabriele Gramaglia – all instruments and vocals Recorded during winter 2016/2017 by Gabriele Gramaglia Main Guitars reamped by Colin Marston in Thousand Caves Studio Mixed by Stefano Lattanzio and Gabriele Gramaglia Mastered at Sweetspot Studio in Athens Parts of lyrics readapted from Dante Alighieri’s Divine Comedy Cover art by Altar of Sorrow Layout bt Francesco... read more
“Rarely do bands show a passion and creativity that holds them apart from the herd, even rarer still do they have the talent to translate this drive in actual quality heavy metal that holds its head above the crowd – Inconcessus Lux Lucis deserve this accolade.” – John McNulty, Iron Fist Magazine INCONCESSUS LUX LUCIS are a UK based band who play a style of music that they call Saturnian Black Magick. Their music is firmly rooted in black metal, executed with a rock and roll attitude and with clear influences from classic heavy metal acts such as Iron Maiden, and Motorhead, as well exemplified in their previous EP, “Crux Lupus Corona”, released in 2014 by I, Voidhanger Records. After starting to perform live in 2015 the band have played a string of successful shows including two special guest performances on Mayhem’s recent De Mysteriis Dom Sathanas Tour. Their live shows are incense filled, blood-drenched musical assaults that evoke an otherworldly, dark and mysterious atmosphere, an atmosphere which is in keeping with the overtly adversarial intent of INCONCESSUS LUX LUCIS and their mysticism laced, death venerating song lyrics. In 2016 the band travelled to Stockholm, Sweden to record their second full-length album, “The Crowning Quietus”, with Tore Stjerna at Necromorbus Studio, known for producing classic recordings with bands such as Ofermod and Watain. The result was a resounding success, INCONCESSUS LUX LUCIS produced a record of arguably their most refined and potent music to date, and with the assistance and expertise of Tore Stjerna they managed to capture the necrotic and violent atmosphere the band create when performing in... read more
Romania’s BLOODWAY cement their relationship with I, Voidhanger Records by releasing “A Fragile Riddle Crypting Clues”, the closing chapter of a trilogy which started in 2014 with the “Sunstone Voyager And The Clandestine Horizon” EP and continued the following year with the band’s first full-length, “Mapping The Moment With The Logic Of Dreams”. Lead by Costin Chioreanu, one of the most celebrated graphic artists within today’s metal field, BLOODWAY blend black metal, progressive metal, heavy rock and psychedelia in equal parts, forging a very peculiar style that revolves around deep emotions and dark inner visions, exactly like Chioreanu’s surreal art. “In this new chapter the same character from the previous albums returns to the world of humans, but with a different and larger perspective, animated by his experiences and mental transformations,” Chioreanu explains. “The world is nothing but a prison, with virtual walls risen from the controlled collective intellect, where all the prisoners are locked in by themselves. Everyone is free to go and live outside the so-called system, but nobody really wants to leave the cells for the unknown.” It’s a concept made of disenchantment and melancholy, and yet the album is more aggressive than BLOODWAY’s past material, as well as extremely dark. “In this prison, our character buries his achieved illusions about humanity and rediscovers memories from childhood,” Chioreanu continues; “he is attacked by chimeras, fears imposed by will, but at the same time he reaches illumination by simply accepting reality in it’s complete and horribly deceiving splendor. So he realizes that everything is nothing but a matter of perception.” From the lyrical perspective, “A Fragile Riddle... read more
