I had not heard of Estonian act Vanad Varjud before, but deep investigation learned me that this trio released a first recording in 2014 (which was called Apooriad, done on tape). Back then they were a duo, existing through highly productive / active musicians Thon and Sorts; but in mean time they recruited a lead vocalist, Ott – this guy, by the way, did work with the other ones before as guest / session vocalist on some of the many other projects these guys are involved with.
Endlos were formed in 2012 in the Lower Saxonian area (Germany) by Jörn ‘J’ Hermann and Carsten ‘C’ aka ‘Waldseel’. Both of them are quite active musicians, being involved with several other bands and projects, and with Endlos their productivity isn’t inferior either. There were several demos and EP’s, and a split with Winterblood, and now they come up with their first official full length album, Im Fallen Verlaufen.
After several years of silence, Emanuele Buresta returns with a new work under the moniker L’Effet C’Est Moi. This Italian guy (Italian, despite the French moniker and the lyrics in French) started a decade ago with L’Effet C’Est Moi (first album: Tomber En Héros in 2006), and now he returns with the fifth album, called En Guerre Avec Amour (‘at war with love’).
Both Satanath Records and Symbol Of Domination Productions, respectively parent label and sub-label by my dear brother-in-arms Aleksey, have some connections within the Costa Rican Metal Mafia, I guess.
On Friday the 22nd of April 2016 we did publish a review for a retrospective, a compilation of the oldest stuff by Peter Andersson’s most known project, Raison d’Être. Around the period of that release, Old Europa Café also came up with the expanded re-release edition of Metamorphyses, one of the many Raison d’Être-albums that were on Swedish, and sadly defunct Industrial-label Cold Meat Industry (in 2006, FYI).
Concreteweb did publish a review for the untitled Enza Negra EP, which is one of the projects that involves Jose ‘RottenCorpse’ Murcia (hey, Murcia is also the name of the city this guy lives in). The guy runs Craneal Fracture Records too, a label especially known for Noise, Power-Electronics and the likes.
Despite being active for four years only (they were founded in 2012), Uppsala, Sweden-based Nazghor now team up with their fifth recording, after Life Impaled (2013, Nebular Winter Productions / Dead Center Productions), Upon The Darkest Season (2014, Dead Center Productions, also re-released on tape afterwards), Through Darkness And Hell (2014, Metallic Media) and Diabolical Teachings (2015, a co-release of Metallic Media
I recently crossed paths with Greg and the label Ur Muzik, a guy and a label that rather focus on quality than on quantity. That’s why they do release only one up to three albums each year, and up till now there aren’t but nine release, despite the label’s start in 2009. An example of one of these releases is Foxgloves And Bluebells, created by the blonde fairy Merissa d’Erlette under the Artefactum moniker.
Cryo Chamber Records are a label based in Oregon, ‘focusing on high quality Dark Ambient with a cinematic edge’. The label was started by Simon Heath, the human entity behind projects such as mighty Za Frûmi, Sabled Sun, Abnocto and others, but especially known from Atrium Carceri. For most projects on his label, he takes care of both artwork and mastering too, by the way (cf.
Spinal Records are like a premier label for the Belgian scene with a limited amount of quite interesting releases on its roster in mean time. You can find some reviews on Concreteweb for bands just like Exuviated (update of December 28th 2015), Hell City (see upload December 1st 2014), Drakkar (November 10th 2014) or Deepshow (published on April 29th 2015).
