sábado, 4 de julio de 2026

LISTA COMPLETA DE DISTRIBUCIÓN - JULIO 2026



NOVEDADES 1-7-2026







LP

*Acheron's Reticuli – The Strangeness Of Orbiting Objects 27,99 €
*Agalloch ‎– Oddities & Rarities 2001 - 2004 (2 × Vinyl,Clear/Black Smoke) 39,99 €
*Fuath ‎– III 27,99 €
*Ondfødt ‎– Norden (Opaque Cyan Blue) 24,99 €
*Okkultokrati ‎– Raspberry Dawn13,99 € 


EDICIONES ESPECIALES
Aara ‎– Eiger (2 × Vinyl, LP, Album, White Marbled) 39,99 €
Acacia's Temple ‎– Elegiac Pilgrimage 29,99 €
Aegrus ‎– Invoking The Abysmal Night 29,99 €
Agriculture ‎– Living Is Easy / The Circle Chant ( Merge Aqua Blue & Baby Blue W/ Black Splatter) 69,99 €
Ancient Guard ‎– Desiderans Dissolvi 24,99 €
Ancient Wisdom - A Celebration In Honor Of Death (LP, Gre + LP, S/Sided, Etch, Gre + Album) 31,99 €
Antlers ‎– Beneath. Below. Behold (2LP) Limited to 288 copies. 38,99 €
Aparthiva Raktadhara ‎– Adyapeeth Maranasamhita 24,99 €
Archgoat ‎– Worship The Eternal Darkness (red) 24,99 €
Azziard / Nirnaeth ‎– Azziard / Nirnaeth (7” Limited to 100 numbered copies on white vinyl) 11,99 €
Baptism ‎– V: The Devil's Fire (Limited to 100 copies - Transparent red vinyl in gatefold.) 29,99 €
Bartzabel ‎– Mentally Mutilated 19,99 €
Beltez ‎– A Grey Chill And A Whisper (2lp grey) 42,99 €
Bhleg ‎– Fäghring 24,99 €
Borknagar ‎– Fall (2LP Green [Transparent Coke Bottle]) 59,99 €
Charles Manson / Seges Findere ‎– The Way Of The Wolf 8,99 €
Cursebinder ‎– Drifting (red) 33,99 €
Darkspace ‎– Dark Space -II 37,99 €
Doedsmaghird ‎– Omniverse Consciousness (marble/white vinyl) 49,99 €
Desaster ‎– Churches Without Saints (Yellow Brown Marbled) 34,99 €
Drought  - Rudra Bhakti (10") 3,99 €
Drowning Deeper ‎– Life Is a Failing Existence 19,99 €
Enslaved ‎– Utgard (Orange) 30,99 €
Entartung ‎– Maleficae Artes (gold) 20,99 €
Fange ‎– Purge (Orange vinyl limited to 500) 14,99 €
Fen  & De Arma ‎– Towards The Shores Of The End (Gold)  29,99 €
Firtan ‎– Marter (2 × Vinyl Gold/Clear/Black Marbled) 49,99 €
Gaerea‎– Gaerea 49,99 €
Grift ‎– Vilsna Andars Utmark 27,99 €
Gromowładny, Winter Moonlight ‎– Barbarzyński młot wojny 59,99 €
Imperial Triumphant ‎– Spirit Of Ecstasy (2lp Clear [Ultra]) 45,99 €
Invincible Force  ‎– Decomposed Sacramentum 27,99 €
Johnny The Boy ‎– You (Clear & Black Marbled) 34,99 €
Katharos ‎– Of Lineages Long Forgotten (Ghost,Gold Splatter) 35,99 €
Kill The Thrill ‎– Autophagie 39,99 €
King ‎– Reclaim The Darkness (Blue vinyl version limited to 200 copies) 24,99 €
Kommandant - The Architects Of Extermination - (Red vinyl limited to 100) 12,99 €
Lantern – Dimensions (Vinyl, Silver with Black Splatter) 28,99 €
The Lion's Daughter ‎– Existence Is Horror (transparent green vinyl limited to 100 units) 18,99 €
Luring ‎– Malevolent Lycanthropic Heresy ( White/Black Splatter) 39,99 €
Lustre  ‎– A Glimpse of Glory (White & Grey w/ Black Splatter) 24,99 €
Lustre ‎– The Ashes Of Light (Silver) 24,99 €
Lustre  – Phantom (Black/Purple Merge) 29,99 €
Madder Mortem ‎– Old Eyes, New Heart (Transparent Blue vinyl) 39,99 €
Misanthur ‎– Ephemeris 37,99 €
Mora Prokaza ‎– By Chance (Limited to 200 copies) red vinyl 29,99 €
Mordant ‎– Back From Hell ( Black vinyl with logo-patch) 13,99 €
Mozart* / Elisabeth Schwarzkopf, Christa Ludwig, Giuseppe Taddei, Walter Berry, The Philharmonia Orchestra* And Chorus*, Karl Böhm – Così Fan Tutte 59,99 €
Murg ‎– Strävan (Silver) 39,99 €
Nexion ‎– Seven Oracles (Grey-white marble vinyl, limited to 200 copies) 35,99 €
Old Wainds ‎– Stormheart (Blue Black Marbled [Transparent]) 54,99 €
Onirik ‎– The Fire Cult Beyond Eternity (Red w/ Black Marble) 43,99 €
Palace Of Worms ‎– The Ladder (Limited to 100 clear with black/red splatter vinyl) 19,99 €
Rites Of Thy Degringolade ‎– The Blade Philosophical ("Die Hard" version on silver vinyl) 38,99 €
Sexual Predator ‎– American Nightmare (Cassette Limited edition to 50 copies) 6,99 €
Slaughter The Giant ‎– Depravity 39,99 €
Sólstafir ‎– Berdreyminn (green) 49,99 €
Spirit Possession ‎– Of The Sign… (Blue/Red/Gold Mix) 62,99 €
Suidakra ‎– Wolfbite 23,99 €
Theodor Bastard ‎– Oikoumene (Gold & Orange Mixed) 44,99 €
Ultra Silvam ‎– The Sanctity Of Death 20,99 €
Vein  ‎– Blood Oaths 77,99 €
Vévaki ‎– Fórnspeki (green) 34,99 €
Volcanic  ‎– Black Flame (Vinyl, 7", 100 Transparent color) 9,99 €
Vorkreist ‎– Sacrifice (Vinyl, 10", Limited to 105 hand-numbered copies) 16,99 €
Vouna ‎– Atropos (Purple w/ White, Silver, Gold Splatter) 34,99 €
Vuur & Zijde ‎– Boezem (Yellow / Red / Black Marble) 42,99 €
Wampyrinacht ‎– Night Of The Desecration - Les Jardins De Nyx - 23,99 €
Weregoat ‎– The Devil's Lust (Red Transparent) 27,99 €
Winter Deluge ‎– Degradation Renewal 13,99 €
Witchery ‎– In His Infernal Majesty's Service (white vinyl. Limited to 100 copies) 36,99 €
Withered ‎– Grief Relic (Opaque mist blue vinyl in gatefold sleeve, limited to 100 copies) 18,99 €
Wode ‎– Burn In Many Mirrors 29,99 €

SPLIT
*Anti / Mosaic - Landscapes 2,99 €
*Blakk Old Blood, Black Devotion – Blakk Old Blood / Black Devotion5,99 €
*Moloch  / Arria Paetus ‎– Moloch / Arria Paetus 13,99 € 
*Moloch / Gurthang ‎– Moloch / Gurthang 5,99 € 
*Moloch / I Shalt Become – Split 9,99 €
*Mion's Hill - Torture 11,99 € 
*Moloch ‎– Ein Düsterer Winter Kommt 7,99 € 
*Azathoths Dream ‎– Infernal Necromantic Mysticism 11,99 €
*Selbsthass - Stille 1,99 € 



DEMO
*Volcanic ‎– Okkult Witch11,99 €
*Woest – La Fin De L'Ère Sauvage 3,99 € 


Podéis hacer vuestros pedidos en nuestra tienda, BMSP, en discogs o a través de correo: blackmetalspiritstore@gmail.com.


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viernes, 3 de julio de 2026

DAUÞUZ - INTERVIEW



 1. Dauþuz began its journey around 2016. Both members already had prior experience in bands like Idhafels and Wintarnaht. How did the idea of ​​starting a new project come about? What does the name Dauþuz refer to, and why did you decide to use it?

Aragonyth: Glück auf! That’s right, we’d both already had various experiences with other bands, and due to stagnation and the unreliability of other members, I’d decided to start something new. Working with Syderyth on Schattenthron and Idhafels had been quick and hassle-free, so he was my first port of call for vocals. Fortunately, he was won over by the music, and so Dauþuz was born. The name means ‘death’ in Germanic and was already in use before it was clear that mining would be the theme. It fits perfectly, of course, and I’ve always liked the sound of the word. 


2. As with your two previous albums, it seems you've divided them into two different releases, but one is a continuation of the other, hence the title of the recent "Todeswerk: Uranium II." What unites these two latest releases beyond the sound? Is there a clear difference between them, or could it have been released as a double album? What was your working process like for this new album?

Aragonyth: Originally, we had no intention of splitting the uranium theme – which is, after all, the main link between the two albums – across two albums. Once “Uranium” was finished, we wanted to quickly follow it up with an EP featuring a few quicker-paced songs, as the theme still had so much to offer. That then took on a life of its own and, well, it resulted in a whole other album. “Uranium” takes a somewhat more general approach to the subject, whilst “Todeswerk: Uranium II” focuses on post-war mining in Joachimsthal. 

The recording process was, as is usually the case, exactly the same. I actually write songs “all the time” and Syderyth picks out the ones he feels are suitable. We’re a very well-oiled machine in that respect. 


3. From your beginnings, you've always managed to connect very well with the public. While your albums aren't exactly "accessible," they seem to offer something that appeals to fans, especially with that balance between the more direct sections of pure black metal and that subtle line with a certain pagan component. What do you think your music contains that allows you to achieve this connection with the public? 

Aragonyth: Well, our music is certainly riff-heavy and rather melodic for the most part. Musically, I don’t see us as being at all inaccessible, even though we do, of course, have some quite extensive songs from time to time. Another point is that of personal connection. Many listeners have a connection to mining through their own family history and therefore have yet another, emotional bond with our music. I don’t think we should necessarily underestimate this factor. 



4. Another distinctive characteristic of your music is its subject matter. Few bands that I know of, apart from the French band Galibot, focus on themes related to mining. How did the idea of ​​creating a black metal band centered on such a particular and individualistic theme come about? What themes do you address with the new album? Does the music adapt to the lyrics, or vice versa?

Aragonyth: Unlike Galibot, though, we’ve actually been doing this for ten years now ;) Syderyth had been thinking about the idea for some time, and my brainchild of a new band came at just the right moment. I was taken somewhat aback at first, to put it mildly, but if you think about it, things don’t get much darker or more death-laden than old mining, in particular. 

I’ve already written a bit about the album’s theme. I’d say that, after so many years, we’ve ‘found our feet’ both musically and lyrically. There was certainly a lot of trial and error at the start, but now we know what we want. That’s why the music relates to the theme, and vice versa. 


5. Just like with your previous album, you worked with Patrick W. Engel of Temple of Disharmony as producer. Was this something you already knew you wanted, given the connection between the two albums? What do you think Patrick's work brought to the table?

Aragonyth: It does link the two albums, yes, but every master is slightly different, and I think the sound on this one marks the biggest difference in our discography. But apart from that, Patrick W. Engel simply does a brilliant job. He gives the album that certain something that ultimately makes all the difference. 


6. Werewolf is credited as a session drummer on the new album. What were you looking for by bringing Werewolf on board? How did you get in touch with him, and how did this collaboration come about?

Aragonyth: He got in touch with us a while ago because he wanted to cover one of our songs for his YouTube channel. It worked out so well that we started talking about recording an album, and that’s pretty much how it all began. His playing brings a different, unique dynamic to the music, which we think really suits it. 


7. Since around 2020, first with a series of reissues and then as a leading record label, you've been associated with Amor Fati. For them, it seems like a really significant commitment; we could almost say you're the flagship of their catalog. How did this connection come about, allowing you to collaborate on releasing your music with them? What does Amor Fati offer you compared to, for example, Naturmacht Productions, your previous record label?

Aragonyth: I’ve known M. from Amor Fati for quite some time now, as we’ve often bumped into each other at gigs and I’ve always been – and still am – a loyal customer of his, haha. He just struck up a conversation with me one day and that’s how we ended up staying with him. I don’t want to go into internal matters or give any details here, but we feel very well looked after by him and he’s happy too, so it’s a win-win situation. There’s no reason for us to change anything about this. 


8. Luciana Nedelea is credited with the cover design, which features a connection between mining and a touch of fantasy. Why did you decide to work with Luciana? What does this cover represent, and how does it relate to the album's content?

Aragonyth: Luciana is simply incredibly talented at creating atmospheric landscapes and images. This is particularly true because they are genuine oil or acrylic paintings. The cover depicts a (slightly exaggerated, of course) landscape inspired by the Red Tower of Death in Joachimsthal. Syderyth visited the location and took some photographs, which served as the basis for the artwork. Some of his photos can be found in the booklet as well. 


9. You've been active with previous projects since the nineties. What's your impression of the evolution of the German black metal genre over these years? What similar bands would you recommend? Do you think it's easier to reach a wider audience these days, but that quality is sacrificed for quantity?

Aragonyth: It’s certainly not any easier to reach people, as there are far too many bands flooding the market with releases every day. It’s hard enough as it is to pick out the few decent releases from the lot. Black metal, both in Germany and generally speaking, has certainly become a bit more diverse in its styles, both lyrically and in terms of musical influences; that’s undoubtedly – alongside the sheer volume – the biggest difference. 



10. Many bands don't consider playing concerts, sometimes because they don't have enough members, as might be the case with you, and other times because they simply refuse to perform live. What's the specific situation for you?

Aragonyth: Since Syderyth plays live with Wintarnaht, you could say that I’m the ‘problem’, haha. I’ve got little interest in spending my energy practising old material rather than creating new stuff. I simply lack the experience, too. 


11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to become musicians?

Aragonyth: Metallica were a truly pioneering band in this respect, and my cousin introduced me to them at a very early age. They were also one of the first bands I ever saw. 


12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

Aragonyth: We’re both big fans of the ‘classics’ from the 90s, which for us perfectly encapsulate the essence of black metal. Be it early Darkthrone, Immortal, Burzum, Mayhem, Dissection or also bands like Kampfar and Mörk Gryning. We also enjoy second- or third-tier bands such as Vintersemestre, Vargavinter and the like. The last record I bought isn’t black metal at all: "Buzz Factory" by the Screaming Trees, which I’d previously only had on CD. 


13. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Dauþuz's fans, this is the place. I hope you enjoy the questions.

Aragonyth: Thank you for your interest and for your interesting questions. Glück auf!

-----------------------------------------------------------------------------------------------------------------------------

Gaerea ‎– Gaerea 49,99 €


Cassette, EP, Limited Edition, Numbered, Stereo, Black






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jueves, 2 de julio de 2026

URKRAFT - INTERVIEW



 Good afternoon, thank you so much for answering these questions. How's everything going in Oslo?

Thanks for taking interest! Things are going fine here, if a bit slowly. As the one-man operation Urkraft is, there are a lot of things to keep track of, and now I'm also planning to launch new merch.


    1. In the past, you were part of bands associated with styles like death metal and progressive metal. However, around 2014, you decided to launch your own project, more focused on a style like black metal. What led you to create Urkraft? Why did you choose this name, and what does it refer to?

That's not entirely accurate. I played in Astaroth, a black metal band, for longer than both Unspoken and Sarpedon. And when Urkraft was formed, black metal was a natural choice as it was formed by Astaroth's non-original memebers at that time, since the only remaining original member lived in Germany, and it halted our progress. So at the beginning it wasn't “my own project”, even though I wrote all the songs and came up with the name. Though after a while conflict arose, and by 2017 it had become a solo project, which turned out to be a blessing in disguise, as it forced me to take all the roles and learn the tools I needed to learn to essentially do everything myself, which in turn have given me absolute power to do whatever I want.

As for the name, which means “Ancient Force”, it just felt natural. I have always felt a connection to nature, combined with a great fascination for deep time, and the aeons that have passed before there were any humans at all. 

       

    2. The first album took almost six years to arrive, but since then, there's been a certain regularity in terms of releases, maintaining a rate of one every three years. What happened that caused your self-titled debut album to take so long to arrive? What was the songwriting process like for your most recent album, "Naturens skrik"? How do you think your sound has evolved between your last two releases? What brands of instruments did you use to compose the album?

The reason the first took so long was of course all the things I mentioned above. It was first recorded in 2015, but most of those recordings couldn't be used, and had to be redone. It was then I decided to try to learn the tools myself, and never having to rely on someone else again, save for mastering. It has saved my a lot of headache, and has streamlined the process  as I've become more and more proficient using DAWs.

The song writing process of “Naturens Skrik” has been very intuitive, as I've learned to trust my musical instincts. As with previous albums, I used Guitar Pro to write the music, but the difference this time was that I already had a well of material before sitting down and writing. The reason for this is that I've gotten into the habit of playing my synth every day, always trying to come up with new melodies. And playing the synthesizer, while also exploring a lot of different genres, from opera to ambient and dungeon synth; has opened up a whole world of possibilities – a whole world of melodic structures, all complementing each other, creating a greater whole, and with great atmosphere and emotion.

So I've learned to exploit these techniques. I always try to find one or a few central themes to a song, and have variations on those throughout the song. 

As for the instruments I used, I used Schecter and Ibanez for most of the guitars, with Yamaha for accoustic guitar and bass. I used Korg for the synths, one digital and one analogue. 



      3. Black metal seems a bit too vague to describe its sound. Listening to "Naturens skrik," one discovers quite elaborate atmospheres, where the ambiance plays a fundamental role in conveying different sensations to the listener, including the immersive quality of the sound. How would you describe the sound of "Naturens skrik" to someone who hasn't heard it yet? What bands or styles influenced the album's composition?

This is a tricky question. Simply “black metal” as a descriptor just don't cover it anymore, I feel. It has evolved past that now, but exactly what to attach to it, is difficult to decide on, and it has been described as “atmospheric”, “symphonic”, and “progressive”; which are all true. This is because I don't really care about labels, and am not afraid to break rules and do un-orthodox stuff. I think perhaps “cinematic black metal” would be a good descriptor, even if it's not an official genre. That being said, I also had a general idea – a half forgotten memory – of the early sounds of melodic/symphonic black metal, like Ulver, Troll, Burzum, and Arcturus. That is to say, I didn't actively listen to those bands at the time, but rather more experimental bands, like Oranssi Pazuzu, Dødheimsgard, and Astrosaur, not to mention all the ambient, dungeon synth, and classical music. Artists/bands like Vangelis, Hans Zimmer, Howard Shore, Gustav Holst, Tales under the Oak, Delmak-0, Erreth-Akbe, and Trollslottet, has thaught me a great deal about not only atmosphere, but also musical story telling, and I've tried to incorporate that on a fundemental level. My aim is to take the listener on a journey in a similar manner that Tolkien takes you on a journey when you read his books.

       

    4. Its themes have a nature component and certain fantasy influences, so to speak. Where do you find inspiration for your lyrics? What specific themes does "Naturens skrik" address? Do the lyrics adapt to the music, or vice versa?

Inspiration for my lyrics I find everywhere. In a highly digitalised world, I find we've become more detatched from nature, both externally and internally. The overarching theme is about showing mankind, and all its flaws, in a critical light. 

I always write the music first, but I also have a general sense of the themes I want to explore. So when it comes to writing lyrics, I usually have a few topics in mind which I pair with songs I feel fit the vibes of the lyrics.

       

    5. There isn't much information available about the recording, mixing, and mastering process of the album. Was it a solo process, or did you collaborate with a professional recording studio?

Except for mastering, which was done by Jack Conrow (Jack Control), I've done everything myself, even artwork. That means I can continue to perfect the album by adding more elements, even when “all” the recording is done. 

       

    6. The album has been released by the record label Dusktone. How did the contact come about, and how did the decision to work together on the release of “Naturens skrik” come about?

I simply sent in a demo request via their online form, and they liked it, and wanted to sign it, and Dusktone was one of my top choices of label, so it was a no-brainer.      


    7. You also created the cover art for the new album. What inspired you to create this drawing? What does it represent, and how does it relate to the album's content?

The title “Naturens Skrik” was inspired by the text Edvard Munch wrote that accompanied his famous painting, “Scream”, which reads the following (translated from Norwegian):

“I was walking along the Road with two Friends  

The Sun was setting – The Sky turned / blood red – and I felt a wave of Sadness – I stood still tired to Death – above / the blue-black Fjord and City blood and Flaming Tongues hovered   My Friends walked on – I / remained behind – shaking with Angst – I felt the great Scream in Nature.”

And thus the artwork was inspired by the title. I simply wanted to illustrate “nature screaming”, using natural elements to create a screaming face. It's a weird mix of Salvador Dalí, Theodor Kittelsen, and Edvard Munch, and the cover of King Crimson's “In the Court of the Crimson King”. All that mixed in with my own observation, and interpretation of nature.


       

    8. Norway was a fundamental setting for the birth of a genre like black metal. What remains today in a city like Oslo of the essence of those early years? What bands can you recommend?

To be honest, I'm probably not the right person to ask. Making the music of Urkraft is a rather isolating experience, detatched from much of the things going on around. So I'm not quite up to speed on what's happening. But I can name drop a few, since I know the people playing in them: Tilintetgjort, Urarv, and Mulm. The last one I did clean vocals on, so I'm kind of biased, but I think it sounds quite good in general!

       

    9. Will you keep Urkraft as a studio project, or are you considering recruiting other musicians and playing live shows someday?

It will probably be a studio project, until it isn't. I DO want to play live someday, but it's not top priority at the moment. I have already “written” a lot of material for the text one, just stored in my mind. I'm afraid I'm too fond of creating new music, to have time to put together a band. Maybe in an album or two.

       

    10. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your life pushed you to want to be a musician?

We learned to play guitar, on a pretty basic level, in our music classes in Middle school, but I wanted to do more complex stuff than simply playing the same 3-4 chords over and over. So I got my first guitar, an electric one of course, when I was 15. In the beginning I just played freely, with no thought to tempo, tuning, or technique. But that got better when after I had some evening guitar lessons, and beyond that, pretty much everything is self thaught.

The first album I bought was “Korn – Issues”, but I quickly moved on to better acts, like Iron Maiden

And the story is similar with the concerts I attended. When I was 16 I was at Roskilde, and saw Korn and Slipknot, among others, but none of the bands on that festival left an impression with me. But when I was 17 I got to see Iron Maiden for the first time, and I still consider it one of the best concerts I've been to.

       

    11. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

I would have to say Mayhem's “De Mysteriis Dom Sathanas”, given its sound, but also the history surrounding it. However, Ulver's “Bergtatt” lies much closer to my heart.

The most recent album I bought was Sunn O))) - “Sunn O)))”, which I bought when I saw them play in Oslo not long ago.

       

    12. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Urkraft fans, this is the place. I hope you enjoy the questions.

As mentioned before, I'm in the process of having merch made, like patches, buttons and posters. I'm also working on a T shirt design, but it's not quite ready yet.

Thank you for the interview!

-----------------------------------------------------------------------------------------------------------------------------

Theodor Bastard ‎– Oikoumene (Gold & Orange Mixed) 44,99 €


Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Gold & Orange Mixed




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