House Of Mythology/CD products

Ulver - Neverland 12.48 $

Fri, 10 Jul 2026 10:37:51 +0200

"Neverland", the fourteenth studio album by ULVER is the sound of an escape. A journey into undiscovered lands.

Following three albums – "The Assassination of Julius Caesar" (2017), "Flowers of Evil" (2020), and "Liminal Animals" (2024) – rooted in more traditional song and production structures, "Neverland" marks a new chapter in the revered Oslo band's history.

"With 'Neverland' we embraced a more 'punk' spirit – more dreaming, less discipline – freer, quite simply", the band comments on the creative process behind the album.

Bursts of daybreak synths and whooshes of sound set the atmosphere, before the wolves start digging into the dynamics of ambient calm and anarchic mysticism. Dreamy and transportive textures develop into trippy percussive energies, and as the album unfolds, a lush and vibrant, and at times exotic space opens.

Apart from a few recurring distant voices and vocal chops, "Neverland" is a largely instrumental record, reminiscent of the mood and structure of that place where late '90s IDM sounds met the meandering structures of post-rock.

The ghost of premillennial sample culture surely haunts "Neverland", and some might even hear echoes from earlier acclaimed works like "Perdition City" (2000), or the "Silence" EPs (2001), or more recently "ATGCLVLSSCAP" (2016).

Still, "Neverland" sounds and feels like something else, something fresh in ULVER's continuous journey of perennial reinvention. Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It's up to you.

Tracklist:
01. Fear in a Handful of Dust
02. Elephant Trunk
03. Weeping Stone
04. People of the Hills
05. They're Coming! The Birds!
06. Hark! Hark! The Dogs Do Bark
07. Horses of the Plough
08. Pandora's Box
09. Quivers in the Marrow
10. Welcome to the Jungle
11. Fire in the End

Jewelcase CD with 8-pages booklet

Zu - Ferrum Sidereum 12.48 $

Tue, 14 Jul 2026 10:47:39 +0200

Italian jazz metal trio ZU return with "Ferrum Sidereum", an instrumental double album that continues their tradition of freely blending genres to fit their musical intentions. Their music combines the complexity of progressive rock, the grit of industrial, the precision of metal, the energy of punk, and the intelligence of jazz. The result is a sonic journey that is as cerebral as it is visceral, defying easy categorisation while remaining unmistakably ZU. "Ferrum Sidereum", which translates from Latin as "iron of (or from) the stars" refers to meteoric ore, which had a deep spiritual significance in ancient times and is contained in such artifacts as Egyptian ritual objects with Tutankhamun's meteoric iron dagger as the best known example or in some Tibetan "Phurpa" blades. Iron coming from the stars forms the elemental base that shapes ZU's otherworldly narrative on this album. The trio spent over a year refining this proliferating 80-minute epic through relentless rehearsals and live studio recordings in the city of Bologna. It soon emerged that the tracks had to be epic and needed space to live and breathe, meaning they would not conform to today's algorithm-driven norms. The last piece of the musical puzzle fell into place when three-time Grammy-winning sound engineer Marc Urselli expressed interest in recording and potentially producing ZU's next album through a mutual friend. This opportunity immediately caught the band's attention, as they had never worked with a producer and recognized the need for someone capable of guiding them to create an 80-minute album. Band and producer balanced raw intensity with refined production tweaks and textures. The result is a contemporary, rich, and immersive sound that defines "Ferrum Sidereum". ZU were founded in 1999 and already released their debut full-length "Bromio" the same year. Their collaboration with iconic FAITH NO MORE and MR. BUNGLE frontman Mike Patton on their 2009 album "Carboniferous" made a significant impact and raised the Italians' status. Through a spontaneous and organic creative process, ZU forged a fresh and innovative sound that seamlessly intertwines many layers of the Italian trio's musical heritage, drawing from progressive rock, metal, and industrial genres. "Ferrum Sidereum" beckons to discover a new musical universe!

Tracklist:
01. Charagma
02. Golgotha
03. Kether
04. A.I. Hive Mind
05. La Donna Vestita Di Sole
06. Pleroma
07. Fuoco Saturnio
08. The Celestial Bull and the White Lady
09. Hymn of the Pearl
10. Perseidi
11. Ferrum Sidereum

Digipak CD

Ulver - Shadows Of The Sun 13.43 $

Tue, 14 Jul 2026 10:48:41 +0200

Eleven years and eleven revolutions around the sun. There have been deaths and pregnancies, victories and chance encounters. Too many sombre news bulletins and retrenchment notices. Through it all, earth’s orbit, the night sky and music. In whichever ways, we recount this traversal of elapsing time and we have come far. So too has Ulver.
Since the 2007 release of Shadows of the Sun, the Oslobased collective has busied themselves broadening the grounds of their multi-dimensional, multiconfessional church. Once limited to the studio, the indefatigable Norwegians these days command the stage, crossing continents and oceans delivering a surreal and visually transfixing live act.
Once described by Kristoffer Rygg, Ulver’s founder, as their “most personal record to date,” first-time Shadows listeners will find neither the dance-floor subversives of Julius Caesar nor the dense hallucinatory grooves of ATGCLVLSSCAP, recent works that have swelled the ranks and given rise to a handsome new generation of wolf pups.
More than a decade on, Ulver’s seventh studio album arguably remains their most personal, a decidedly interior account of grand cosmic indifference. It explores the familiars of life and death, love and loss – but from the furthermost purview. All the electricity of life, playing out as perfect circles on a mote of dust suspended in a sunbeam. We are captive to its long shadows.
Shadows of the Sun is a meditation on all the crosses we collectively carry and the folly of carrying them. It is a pensive, quiet work singularly committed to an aesthetic of beauty. We find in it the melancholic grace that would later blossom to the fore in 2013’s Messe I.X–VI.X. Though it is, by no means, an embryonic affair. Revisiting these sounds in 2018, one is struck in equal measure by their elegance and grandeur, restraint and simplicity.
One encounters consolatory string arrangements on a spectral sea of electronics. The soft dance of fingers along the mouth of a piano. A tremendous depth of feeling with each waving crescendo or soft reverberation. Divine outbreaks of a trumpet’s blare. Only occasionally are we confronted with glimpses of a discordant underbelly, the prospect of decay and menace of less hospitable soundscapes. Where there are forays into rhythm, subtle percussion crashes and amplifies the emotional undercurrent.
At the helm are Rygg, Jørn H. Sværen and Tore Ylwizaker, who have been Ulver’s creative core from the heady metamorphoses of the late 90s through to the present. The trusty triumvirate are joined by a string quartet and guest musicians, the likes of Austrian electronic music legend Christian Fennesz, renowned theremin sage Pamelia Kurstin, Norwegian jazz musician Mathias Eick, among others whose contributions enrich the album’s distinctive sheen.
Among these warm, sonic arrangements – mostly linear constructs that unite variants of looping electronics with crisp organic instrumentation – there are glimmers of baroque pop in Rygg’s vocal work, often delivered in the lower register. Each word uttered a negotiation: between loss, questions and the oftenuneasy terms of their acceptance. A cover of Black Sabbath’s downtrodden classic, “Solitude”, is right at home in its folds.
Didrik Søderlind, a Norwegian journalist and author, remarked back in 2007 that these songs of loss and disillusion amounted to Ulver giving their fears “a shapely form,” an approach “capable, perhaps, of bringing a little comfort to some.” It is evident that this album came together under the weight of very personal trials. Søderlind rightly identifies qualities of a sombre empathy at work in this music, imbuing certain moments with deep emotional resonance.
Shadows of the Sun possesses a power to prompt reflection like few things do, particularly where existential matters are concerned. We, too, may come to take the furthermost purview. The Ankole, an East-African bull whose mesmerizing lyreshaped horns grace the album’s stunning cover art, are a dying breed expected to disappear within decades. Our own sun fares somewhat better in this equation. It will be several billion years before it swells nearly a hundred times its current diameter in a spectacular last hurrah.

Ample time to wonder: “What happened to us here?”

– NILE BOWIE, FEBRUARY 2018

When - You Are Silent 12.48 $

Tue, 02 Jun 2026 12:26:44 +0200

When - Homeage Series Vol 1: Sun-ra 12.48 $

Tue, 02 Jun 2026 12:26:44 +0200

Upland - Monochrome Adventures 12.48 $

Wed, 04 Mar 2026 06:41:56 +0100

Ulver - Liminal Animals 13.43 $

Tue, 14 Jul 2026 10:47:39 +0200

AT THE END OF THE ROUGHEST YEAR in their history, Ulver is proud to release their thirteenth studio album, titled Liminal Animals.
Spin back one year. Almost out of nowhere, Ulver starts to drop new songs, sometimes one, sometimes two at the time, like the spectre and its cruel shadow. They are on a roll, doing whatever they want to, and with no immediate or strict concept other than to keep the beast alive.
“Quite liberating in these twilight years”, they said.
But as the pieces are laid out, the songs start to shape a world of their own. Creatures abound. Ghosts and spiders, gods and sheep. Flocks, swarms, and sensations. (See The Senseless Seven, Austin Osman Spare’s drawn self-portrait on the album cover.) There’s something in the air. Liminal Animals is permeated by the smell of disaster and documents, with deep concern, a dark and troubled place in a dark and troubled time. Yes, in the vast Ulver catalogue, now dating back 30 years, it wouldn’t be hard to argue that Liminal Animals can be seen as a continuation of its acclaimed predecessors The Assassination of Julius Caesar (2017) and Flowers of Evil (2020).
This time around, though, their reflections on the overwhelming confusion and conflict seem to have become more pronounced and explicit, as if the songs were born out of the acute intensity of the current situation.
What in the world is happening now?
Musically, the album opener ‘Ghost Entry’, which broke the silence almost one year ago, could indeed be seen as taking a lead from their previous albums. But Liminal Animals soon reveals itself to also be a reflection on their deeper history. The guitar and bass driven second track, ‘A City in the Skies’, might hint at the rockier moments of their Blood Inside album (2005), whereas the soothing, melancholic ‘Forgive Us’, featuring world-renowned trumpet player Nils Petter Molvær, and the smouldering ‘Locusts’ could have been relics from the years between Shadows of the Sun (2007) and Wars of the Roses (2011). Similarly, the album’s two haunted nocturnes could have been secret
transmissions from Ulver’s earlier electronic ambient oeuvre or the stellar experiments on ATGCLVLSSCAP (2016).
And one could go on like this, and never really hit the mark. What about the B-side opener, the infectious and anthemic ‘Hollywood Babylon’, or the final single ‘The Red Light’, both showcasing Stian Westerhus’s inventive guitar work, and among Ulver’s catchiest moments?
Liminal Animals feels and sounds like a record made by a band being on a threshold. Set in a perfect storm.
There’s no way around this: as the making of Liminal Animals commenced in 2022, Tore Ylvisaker, sound wizard, keyboardist, and a core member since 1997, had gradually drifted away from the pack. Initially to pursue other endeavours, before removing himself completely from the workings of the band. Everyone still reading knows what happened in August, as the rest of the pack was about to end the recording sessions. The absence of brother Tore, to whom Liminal Animals is dedicated, will forever haunt these tracks.
There’s a final song in here, too. ‘Helian’, a dark and intoxicated, 11-minute track, recorded in September, and featuring Jørn H. Sværen’s reading of the dreamlike and on the verge of delirious long poem by Georg Trakl (1887–1914). It is the eulogy no one could have expected, revealing Ulver’s continued exploration of groove, repetition, and texture. It is, I think, the inevitable rite of passage, a journey to the borders of language and the disintegrating form. Into the unknown.
As the intense flow of words ceases and the crackling beats and sounds recede, ‘Helian’ feels like the fulfilment of a promise. Wolves Evolve.
Where to go from here?

Tracklist:
1. Ghost Entry
2. A City in the Skies
3. Forgive Us (feat. Nils Petter Molvær)
4. Nocturne #1
5. Locusts
6. Hollywood Babylon
7. The Red Light
8. Nocturne #2
9. Helian (Trakl)

Ulver - Perdition City 13.43 $

Tue, 14 Jul 2026 10:47:56 +0200

House of Mythology is excited to unveil the highly anticipated 2024 reissue of Ulver’s fifth studio album Perdition City (2000)" – “a pinnacle of turn of the millennium musical experimentalism” – containing elements of trip hop, jazz, spoken word, ambient and electronica. Perdition City challenges conventional song structures, with several tracks acting as evocative soundtracks for an "interior film”, offering listeners a deeply personal and cinematic experience. As added frosting, this DLP includes the Metamorphosis EP (1999) on its D-side.
Perdition City will come on 2 x 180-gram vinyl, a thick (350gsm) gatefold sleeve. Each LP housed in white poly-lined disco bags and packaged outside the sleeve to ensure pristine condition upon arrival. All secured within a protective plastic sleeve.

The quintessential city-by-night album.

Tracklist:
01. Lost in Moments
02. Porn Piece or the Scars of Cold Kisses
03. Hallways of Always
04. Tomorrow Never Knows
05. The Future Sound of Music
06. We Are the Dead
07. Dead City Centres
08. Catalept
09. Nowhere/Catastrophe
10. Of Wolves & Vibrancy
11- Gnosis
12. Limbo Central
13. Of Wolves & Withdrawal

Ulver - Grieghallen 20180528 Live 9.58 $

Thu, 19 Mar 2026 18:50:07 +0100

House of Mythology proudly presents the official release of Ulver’s monumental Grieghallen concert from the 2018 Bergen International Festival.

Grieghallen 20180528 documents the pinnacle of Ulver’s 2017–2018 touring cycle, following the release of their landmark album The Assassination of Julius Caesar. A massive explosion of sound and light went off in Bergen that night, leaving the baffled audience floating somewhere between pleasure and fear.

Professionally multitracked by the Bright AS stage tech team, Kristoffer Rygg and Anders Møller were asked to mix the tracks for the 2020 “streaming edition” of the same festival. After having circulated as a YouTube bootleg, it is now being made official partly due to popular demand, and partly because we think of it as a magnificent companion piece to the studio version of Caesar – showing Ulver at the height of their live game.

Tracklist:
01. Nemoralia
02. Southern Gothic
03. 1969
04. So Falls the World
05. Rolling Stone
06. Echo Chamber (Room of Tears)
07. Transverberation
08. Angelus Novus
09 .Bring Out Your Dead
10. Coming Home

Ulver - Blood Inside 13.43 $

Tue, 07 Jul 2026 08:51:50 +0200

Ulver's Blood-Red Baroque 'n' Roll Album turns 18!

Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void. Comes with printed inner sleeve, 4-page insert containing previously unpublished photos, liner notes by Dan Franklin and a testimonial by Toby Driver. Incl. Poster.

Michael Cashmore - The Night Has Rushed In 13.43 $

Fri, 10 Jul 2026 10:38:06 +0200

Cloud sparked and star fed, Michael Cashmore’s The Night Has Rushed In is a soundtrack and soundscape where each note surprises, as if elevating the ear. This eleven-piece suite of challenging and enchanting electronica fuses moments of sublime chillout with those of near anthemic inspiration. Piano and percussion align with a synthesised chorus as this unique voice heard through fingers sings to the soul, sea and sky. As the powers within rise and shift, this music masters the forces formed deep within us. Listening becomes evolution and transportation too. Each sound flies.

“With every album I make, I have always wished it to be my Greatest Work ever. Through this album, The Night Has Rushed In, I believe I have definitely achieved this aim. And I am Continuing in that Work. I have sought in this album, and through this album, to use Divine Audio Frequencies in Instinctive, Mystical, Ways, Connected to All of the Sciences to try and reach a Higher State of Consciousness through Personal Transformation. I then Instinctively Alter these Frequencies to Transform them into some New Reality, which allows me to Transform my Consciousness. I was Searching for Divine Love, The Sun, and for Home—and I Found Them All. This Work is an ongoing Documentation of my Personal Transformation. With The Night Has Rushed In I believe I have definitely achieved this aim. This Work was created Instinctively, Chaotically, Wildly, without Direction or Control, from applying Self-Taught Techniques to reach a Higher level of Consciousness. I made this album. I did not make this album.”

– MICHAEL CASHMORE 22/1/21

Tracklist:
1. The Sun Rises From The Deepest Oceans
2. Powers Start To Shift
3. You Are The Divine Center Of Vibration
4. Run Into The Emptiness Of Everything
5. The Jewel Lies Within Each Heart
6. It Is The Sacred Constellation Of Mathematics
7. Transformation Through Love
8. Reach Your True Beautiful Potential
9. Journey Through Consciousness To The Hidden Throne
10. The Night Has Rushed In (ft. vocals by Anohni)
11. Ashes Fly As Spiraling Swallows Return Home Into Night Skies

Stian Westerhus - Redundance 13.43 $

Thu, 26 Feb 2026 01:00:05 +0100

If STIAN WESTERHUS’s previous album Amputation sounded like a corporeal attack, a war being waged between voice and music, Redundance is the (relative) calm after the storm. That’s not to say it’s any less vital or engaged – just that a détente has been reached, the debris of conﬂict stripped back. Westerhus’s re-markable vocals are more upfront than ever – naked, raw and achingly melodic .– while the instrumentation serves the songs rather than threatening to over-whelm them.

The passion and intensity remains though. Redundance confronts psycholog-ical trauma head on, Westerhus addressing an intolerable situation, cutting away at his personal history in order to forge a new way forward. There’s anger and sadness in here, but also a righteous desire to redeﬁne the turbulence of the past, to tell the truth and to move on. As Westerhus sings on the title track, “Swal-lowed my pride just to keep us alive, but never ever again”.

Redundance faces out onto the world as well. Opening track ‘Chase The New Morning’ is a timely polemic against an oppressive Chinese regime that controls its citizens via online propaganda, a challenge to freedom that has been met with ﬁerce resistance in Hong Kong. It was writing about this political struggle and ﬁghting for what’s rightfully yours that inspired Westerhus to reﬂect on his own situation and revisit songs he’d previously “never dared to record (for being) too direct, too simple”.

Against a synthetic, often minimal, backing, the deep, resonant cadences of Westerhus’s voice represent the indomitable human spirit on Redundance. He’s vulnerable on the jagged distress call of ‘All Your Wolves’ before soaring on an ascending choral wave, while the spiky, skeletal groove of ‘Verona’ is transﬁg-ured by Westerhus’s harmonic acrobatics. And even as his voice is distorted and submerged on the industrial funk of ‘There’s A Light’, he’s a man digging his way out of darkness, tunnelling through the earth to deliver another blackly ec-static chorus.

Westerhus’s reputation as a questing, idiosyncratic guitarist – both in collab-oration (most recently with Ulver) and as a solo performer – is further enhanced throughout. Yet Redundance also shows a more lyrical side to his playing. Per-haps the most surprising track here is ‘Walk The Line’, a celestial acoustic ballad that edges into traditional singer-songwriter territory, before a dramatic swell of electric fretwork jolts us from our reverie. At the other end of the spectrum, ‘Hold On’ is a grimy slab of sinister, robotic garage rock, Westerhus’s guitar wailing with glee.

Redundance is a mesmerising cry of deﬁance, a cathartic throwing oﬀ of des-tiny. Westerhus shares the same singularity of vision, commitment to boundary- pushing and talent for avant-rock ear-wormery as artists such as Nick Cave, Scott Walker and David Bowie. On the strength of this album, it doesn’t feel hy-perbolic to include him in such exalted company.

1. Chase the new Morning
2. All your wolves
3. Verona
4. There's a light
5. Walk the line
6. Hold on
7. Redundance

Ulver - Riverhead OST 13.43 $

Fri, 03 Jul 2026 09:14:13 +0200

Riverhead is the original score to a film by Justin Oakey. A hushed, airy and ominous soundtrack from the Norwegian masters ULVER, touching on Nordic and Celtic folk music from within an ambient/atmospheric frame.

THE STORY
The North Shore is a particular coastline on the island of Newfoundland that has been in various stages of settlement since the 1500s – it is said to be one of the oldest North American settlements. As Irish and English settlers formed communities, centuries of secular feuding in Europe were inevitably rediscovered in this new land and lead to many years of fighting, rioting, and murder. As a Newfoundlander with deep roots on the island, my family has experienced this conflict first-hand and often tell stories of their rival outports, even warning me to stay away from certain communities as a child. This is the backdrop for RIVERHEAD – an area with a fragile coexistence between communities, where inherited feuds can resurface at any moment.

THE SOUNDTRACK
Late last fall I sent Kristoffer Rygg my latest short film, FLANKERS, and we began chatting about the soundtrack, eventually going back and forth about a potential collaboration. At this point, I went out on a limb and asked if ULVER would be interested in composing the music for my upcoming feature, RIVERHEAD. They kindly accepted and here is the result. As a long-time fan, this was an incredible collaboration for me – and further, it allowed us to find aesthetic and cultural similarities between our lands. With this in mind, the soundtrack certainly touches on Nordic and Celtic folk music from within an ambient/atmospheric frame.

There was a mutual understanding that the soundtrack should be hushed, airy and ominous, almost elemental in its minimalism, with only a few key moments that rupture into larger, more augmented pieces. As far as the method, ULVER started by recording and sending over some sketches and atmospheres before we shot a single scene of the film. This allowed me to go into the filming with an understanding of the soundtrack, and how the scenes could (and would) be paced – truly an invaluable asset, especially with a fragmented film like this. Afterwards, they continued to record and we fine-tuned said sketches as well as some new pieces together. Ultimately, I am as proud of this collaboration as a standalone project as I am with the film itself.

– Justin Oakey, L'Anse aux Meadows, September 2016

Available editions:
- CD Jewelcase
- LP (180g vinyl, black) incl. 4-page insert
- LP (180 vinyl, silver) incl. 4-page insert; limited to 100 copies and only available at the SPKR online shop

Tracklist:
1. Riverhead
2. Alleyways
3. Road To Town
4. In A Wooden Coat
5. Idle Hands Are The Devil's Playthings
6. Father's Feud
7. In Memoriam
8. Stoke The Fire
9. Bored Of Canada
10. Hard Standing
11. Stalking
12. A Waste Of Your Father's Life
13. Spiteful Things
14. The Hunt
15. Snake In The Grass

Ulver - Flowers of Evil 13.43 $

Tue, 14 Jul 2026 10:48:18 +0200

In the midst of the forest, the floor is littered with monstrous heads and mythical figures, frozen in torturous combat or threatened by wild beasts. A dragon fights a dog and a wolf. A lion sinks its teeth into the fire-breathing monster’s chest.

This sacred grove, near Bomarzo in Lazio, Italy, reveals the nightmare vision of Vicino Orsini, a sixteenth century nobleman. It’s a forest of symbols, suggesting a civilisation overrun by the beasts, demons and monsters of the primordial world. Soon after Orsini’s death, trees began to close in on these many peculiar beings, and green moss would eventually seize them. Slowly, nature finished what he had started.

Flowers of Evil, the new studio album from Ulver, finds the wolf pack exploring the fear and wonder of mankind’s fall from redemption. Visions similar to those of Orsini come to mind, as untamed life abounds:

THEY SPREAD
TWIST AND TURN
IN THE KILLING FIELDS

The threads of haunted places and images entwine. Have Ulver discovered new pastures under the sun? Or scoured the ruins of their own moonlit past? The truth is, they’re closer to their previous purlieu than perhaps ever before.

“Doom dance”, someone dubbed their last studio album, the critically acclaimed, Impala Award-winning The Assassination of Julius Caesar (2017). Flowers of Evil comes across as an unfeigned progression along the course set by that album, revealing a band moving deeper into beats and grooves, hooks and choruses, synths and guitars, yet sounding more stripped back, making room for the distinctive detail. Once again Michael Rendall (The Orb) and legendary producer Martin “Youth” Glover have taken crystalline care of the mix.

As Caesar demonstrated, Ulver haven’t abandoned any of their obsessions, worries or nightmares as they enter the gilded palace of pop. “One last dance / in this burning church”, Kristoffer Rygg announces on the album’s opening track, featuring old friend Christian Fennesz on guitar and electronics. It sees them locked inside their Hall of Mirrors. A slow build brings the music to the album’s pulsing theme:

WE ARE WOLVES
UNDER THE MOON
THIS IS OUR SONG
WE HAVE LOVED
AND WE HAVE LOST
WE ARE READY TO GO

With Flowers of Evil Ulver have fled a burning Rome, only to confront further crime and corruption. ‘Russian Doll’, the album’s first single, moves determinedly through the night, with a story of unfolding tragedy and misery. ‘Machine Guns and Peacock Feathers’ brings fiery end-time imagery – “barrels are burning / great art will be destroyed” – with a disco beat and flashy ’80s synths. Dismal cries resound on ‘Hour of the Wolf’; echoing Bergman’s classic film, the song is dedicated to the hour between night and dawn, “when most people die, when sleep is deepest, when nightmares are most real”. ‘Apocalypse 1993’ reveals Ulver at their catchiest, its bounding-goat groove running hand in hand with a grand chorus depicting the catastrophic events at Waco, Texas, during the winter of that year – the very same winter that saw the birth of Ulver’s first incarnation. From that thorny undergrowth, this is what they have become: an eclectic, many-headed beast, chanting the ecstasies of the spirit and the senses.

Flowers of Evil unfolds with the shattering second single, ‘Little Boy’. A mysterious beat moves the track towards its thunderous climax, and here Michael J. York’s ominous pipes melt into the softer, moodier ‘Nostalgia’, a ’70s soul shuffle, and the heart-breaking Talk Talk-esque balladry of ‘A Thousand Cuts’. Finally, the wolves are back in the palace of excess, waltzing the night away. Yet around them, the wilderness rises, triumphant; “grass will grow over your cities”, as the Bible says.

Tracklist:
1. One Last Dance
2. Russian Doll
3. Machine Guns and Peacock Feathers
4. Hour of the Wolf
5. Apocalypse 1993
6. Little Boy
7. Nostalgia
8. A Thousand Cuts

David - Ferelith 14.39 $

Tue, 07 Jul 2026 08:52:00 +0200

Stock Arriving Shortly At Our US Warehouse!

Originally released in highly-sought after very limited edition by Cashen's Gap, HOMALEPH are now OverMoon to exclusively share this re-edition in 2021.

The Stargazer's Assistant - Remoteness Of Light 13.43 $

Thu, 26 Mar 2026 01:40:35 +0100

David J Smith's The Stargazer's Assistant continue their exploration of worlds beyond earthly light with this new full length album.
"Remoteness of Light" reveals an expanded line-up for the group, featuring David J Smith (Guapo, Cyclobe/ percussion and sampled atmospheres), David Knight (Shock Headed Peters, Unicazurn/ treated guitars and FX) and Michael J York (Cyclobe, Teleplasmiste/ pipes, FX and field recordings).
As with previous Stargazer's releases "Remoteness of Light" eschews and subverts genre identification, instead drawing the listener into an unfamiliar, richly atmospheric, and elemental sound world populated by bursts of freeform percussion, spectral melodies and seething, haunted airs.
The album is produced by Annti Uusimaki (Guapo, Mothlite, Grumbling Fur, Aethenor).

HHY & The Macumbas - Beheaded Totem 13.43 $

Thu, 26 Mar 2026 01:50:07 +0100

Come horns and trumpets, come echo and percussion. The descent into the subterranean fields is easy. But to retrace your steps into heaven's air: There is the trouble, there is the toil.

Beheaded Totem, the second album by the enigmatic Portuguese ensemble HHY & The Macumbas, leads us straight into the damp caves of our minds. Their 2014 debut Throat Permission Cut was described as “a massive synapses bombardment in a short circuit between Glenn Branca and Adrian Sherwood,” and yes: HHY & The Macumbas have continued their march into the undiscover’d countries of psychoacoustics. Febrile, haunting and at times overwhelming, Beheaded Totem is nothing short of a dream for the necro-tourist. Cerebral and alluring. Toxic. Welcome to the four-dimensional meltdown.

“Beheaded Totem continues a long investigation into percussion, circular rhythms, dub strategies, and horns coming from the alcohol-fuelled Portuguese marching bands,” says constructor and conductor in the world of HHY & The Macumbas, Jonathan Uliel Saldanha. For those not familiar with the Macumbas, they are a shifting musical entity. Built amid smoke and fiery red lights, the performers on Beheaded Totem are: João Pais, Filipe Silva, Frankão and Brendan Hemsworth on percussion, and Álvaro Almeida, André Rocha and Rui Fernandes on horns. An Arkestra reaching not for the stars but the boiling core under our feet.

“This music stems from a deep connection with the streets of Porto and its undertones, nights and drags,” Saldanha says. Emerging from SOOPA, an art and music production unit based in the old harbour city, he has been a leading force in the Portuguese experimental music scene since the early 2000s, through which he coined a signature “skull-cave echo.”

“It comes with a love for trance, otherness and sound pressure,” he explains. Beheaded Totem is indeed a pulsating and physical album, revealing both an ultimate pain and unbearable joy – a funereal ecstasy – as if everything might collapse in on itself at any moment. The disruptive nature of the seven tracks also hints at a free form. They are more evocations than songs, found in the depths Saldanha reached for in the filmic and musical explorations of Tunnel Vision (2016), made alongside director and musician Raz Mesinai. Recorded in tunnels and cavities in and around the city of Porto, the sub-frequencies of Tunnel Vision functioned as a panoramic documentation of the underground, a “dub fiction,” as Mesinai put it. Add the Macumbas’ already famed live capacities evoked on this album, and Beheaded Totem comes across as a fearless interpretation of sulphurous storms. Both meticulous and massive, raw and ravishing, as if their minds are set on rewilding a hollow earth.

And as the nightly creatures prepare themselves to join HHY & The Macumbas in a final Danse Macabre, they might realize what they’re in for: to never find their way back to the corrosions of daylight. But, then again, some sacrifices come with joy.

Tore Engelsen Espedal, May 2018

Tracklist:
1. Wilderness of Glass
2. A Scar in the Skull
3. Danbala Propaganda
4. Deep Sleep Routine
5. Ergot Glitter
6. A Scar in the Bone
7. Swisid Mekanize Rejiman

Zu - Jhator 13.43 $

Tue, 02 Jun 2026 12:27:14 +0200

Stubbornly free from genre classification, Italian trio Zu have been proud to follow their own musical pathways for some twenty years now. Throughout their highly diverse career the band has cultivated the art of collaboration, joining forces with luminaries such as Mike Patton, Damo Suzuki, Mats Gustafsson and Nobukazu Takemura. Their new album - and first on House of Mythology - is no exception, featuring guest musicians such as Jessica Moss of Thee Silver Mt. Zion Memorial Orchestra and Kristoffer Lo of Norwegian pop sensations Highasakite, among others.
"Jhator" is perhaps their most ethereal venture yet, and a bold new trajectory for musicians and label alike - a pensive, mind-expanding foray into abstraction and wonder, rich in cinematic ambience and transcendent, transformational power. Consisting of two extended pieces, this is a work that connects Zu to their antecedents both spiritual and musical, whilst forging forward in the manner of no-one but themselves.

The Stargazer’s Assistant - Resurgam I, Resurgam II 13.43 $

Thu, 26 Mar 2026 01:50:08 +0100

Named after a pair of steam-powered, manned submarines developed in North West England during the late nineteenth century, this fourth album from The Stargazer’s Assistant draws us once more into the depths, where sound conjures space.

Extending the atmospheres developed for their last album – the acclaimed Remoteness of Light(2016) – the trio of David J. Smith (Guapo, Cyclobe), David J. Knight (UnicaZürn) and Michael J. York (Cyclobe, Guapo, Teleplasmiste) reward us once again with a powerful deep listening experience. As its cavernous voids come alive with coursing textures and layers of shimmering melody, Resurgam I, Resurgam II reminds us that even in darkness, we make our own light.

Resurgam I, Resurgam II is produced and mastered by Antti Uusimaki (Panic DHH, Circle, Tindersticks etc.) and The Stargazer’s Assistant.

Tracklist:
1. Resurgam I
2. Resurgam II

Nodding God - Play Wooden Child 13.43 $

Tue, 24 Mar 2026 10:22:51 +0100

Nodding God (feat. David Tibet and Andrew Lilles). Play Wooden Child is an album powered by Stars and Cuneiform and Pop, based on planetary correspondences—spirits, intelligences, demons, metals, and numbers, and with lyrics utterly sung in Akkadian.

Tracklist:
1. Trapezoid Haunting
2. Natron Skipping Rope
3. Xanthosis Sabbat Clock
4. Antimony Moon Fangs
5. Calcination Totem Station
6. Salamander Candy
7. Geometric Magus Breath