We are thrilled to premiere the full album “Fakkeldragers” by Dutch Black Metal band Hellevaerder.
Black Metal Promotion hosts the premiere
Release Date:June, 19, 2025 Genre: Black metal For Fans Of: Darkened Nocturn Slaughtercult, Emperor, Mayhem & Sargeist.
Fakkeldragers (Torchbearers) is a continuation of the tale of the guardian of light; the previous album, ‘In de nevel van afgunst‘ (In the mist of envy) told stories about the guardian of light defending the will to live while the worshippers of nothingness defended the need to perish the soul, becoming one with the universe.
In this saga the guardian is captured and dragged into the gates of eternal slavery, a world made from darkness. Light tries to find its way through the tiniest of openings, and the duality remains. After the capture she remains to find the will to live. The light conquers all, she said. But dying means enlightenment. After being dragged away towards the gates of nothingness she remains faithful to life. The will to live conquers the need to die…
The worshippers of nothingness are warriors of the unlight, the eternal stare-off between the everlasting wisdom in the here and now, foretold in 9 stories. You will be dragged down and be held captive. Forced to endure the tales of awakening. A way to deal with everyday life, a duality of wanting to, and needing to.
Death is nothing but a granted right, the whispers of the damned are chanting the echoes; ‘Death is liberating…’ Do not force yourself on these nine chants, those chants could redefine the process of life. Celebrate life – Worshipdeath
Fakkeldragers is a tale to celebrate life, worship death. This album continues the story of the guardian of light against the worshippers of nothingness.
This second full-length marks the maturing of Hellevaerder. Tracks are more in depth and bring a wider vision of the duality between the worshippers of nothingness and the guardian of light. Reach heights higher than might could conquer, discover hidden passages of the universe. Pick a side in the ongoing battle between dark and light…
Fakkeldragers was written and recorded during 2024. For the first time the entire band was a part of the writing process. During writing sessions we made almost all the tracks, everyone was part of every aspect of it.
This differs from the way we used to operate, one person made every track and others filled it with their vision. Our visions are now aligned, we are Hellevaerder. This marks the first record with all our creative skills combined.
Everything is produced in house, Daan Bleumink and Arjen Kleiss recorded everything and mixed it. The entire band had their say in every step, but we knew what we all were chasing.
Hellevaerder is a five-piece black metal band from Heerhugowaard, the Netherlands. While influenced by bands like Darkened Nocturn Slaughtercult, Mayhem, Sargeist and Emperor, they bring their own unique taste of metal. High intensity music, filled with darkness. Their vocalist Miranda Visser shrieks everything to damnation, being guided by the followers of nothingness.
After their first full-length released in 2022; ‘In de nevel van afgunst’, they gave a taste of what’s to come. Before they started on the next full-length release, they made a trip down history with fellow Zwotte Kring bands Asgrauw, Schavot and Duindwaler (the later being the soloproject of Daan Bleumink). Together they released the greatly received ‘Verloren vertellingen’, which marked a more mature sound of Hellevaerder.
The saga continues as the guardian of light is captured. The second full-length is more madness fueled, insanity invoking and spiritual poisoning than before. Fakkeldragers will tell the next tale of the duality between light and dark. With over 50 minutes of mind terror, the suffering continues…
Line up Miranda Visser – vocals Daan Bleumink – drums Luuk Steemers – bass Arjen Kleiss – guitar Bas Cuperus – guitar
Credits A.A.W.R. (Sulphvris) – artwork Viral Design – logo Daan Bleumink – recording, mixing Arjen Kleiss – recording Devi Hisgen – master Music and lyrics by Hellevaerder
The CD is a co-release between Void Wanderer Productions & War Productions Tape & Vinyl via Zwaertgevegt.
VOID WANDERER PRODUCTIONS is thrilled to premiere the second single “The Sword and the Sigil” by Dutch Black Metal band Ibex Angel Order.
This is Black Metal is hosting the single premiere
Ibex Angel Order – II: Void Sermon Release Date: July, 24, 2025 Genre: Black metal Formats: Vinyl / Digital For Fans Of: Dödsengel/ Funeral Mist / Mare / Cultes des Ghoules.
After a decade of whirlwinds IBEX ANGEL ORDER finally return with their second full length “II: Void Sermon”. Much more vicious than its predecessor “I”, Void Sermon is a statement. An album which is a reminder of how Black Metal should be executed; Raw, unpolished and fierce. Black Metal is not about remorse but trampling hoofs on the soil of your foes. Void Sermon will be an essential album for all who embrace the illumination of Lucifer. Each track has been forged with precision. Although many acts may produce more albums, IBEX ANGEL ORDER chooses to release when the time is right, and the hymns are manifested fully. Submerge into the depths of the Sermon and dissolve your earthly existence.
TRACKLIST 1 – The Sword and the Sigil 2 – Void Sermon 3 – All Flames of Life Extinguished 4 – Shadow Weaver 5 – Belial Invoked 6 – None am I 7 – Archons Dethroned 8 – Equitem Caprarum
As for this moment IBEX ANGEL ORDER second album, entitled “II – VOID SERMON”, is set for release on a limited run vinyl: -140g 12” RED Vinyl -Black Inner sleeve -Gatefold Jacket -Wrapped
Line-up: K.M.K.: Invocations and Summonings L.D.S. : Ritual Drums and Emanations
Credits: Recorded: Double Noise, fall 2023, with G.Aa Mixed: L.D.S. 2024 / 2025 (Assistance Devo Andersson/ T.T.) Mastered: Magnus Devo Andersson, Endarker Studio, Sweden, 2025 Artwork: Cold Poison Insert art: L.D.S. Photography: K.M.K. Lay-out: L.D.S. Logo: Ubertragic Art Samples: Sasrof (Bloodline/ Diabolicum / ex-Setherial) with fragments of “The VVitch” [Robert Eggers,2015] Guest Vocals on “The Sword and the Sigil”: K.v.H. Lyrics “None am I”: M.v.V. (SauroN / Verbum Verus)
Additional Album Information: Music and lyrics by Hellevaerder. Recording by Arjen Kleiss. Recording & Mixing by Daan Bleumink. Mastering by Devi Hisgen. Artwork by A.A.W.R. Logo by Viral Design.
This is a co-release between Void Wanderer Productions, Zwaertgevegt & War Productions
VOID WANDERER PRODUCTIONS is thrilled to premiere the first single “Belial Invoked” by Dutch Black Metal band Ibex Angel Order.
No Clean Singing x Black Metal Streams, hosting the single premiere
Ibex Angel Order – II: Void Sermon Release Date: July, 24, 2025 Genre: Black metal Formats: Vinyl / Digital For Fans Of: Dödsengel/ Funeral Mist / Mare / Cultes des Ghoules.
After a decade of whirlwinds IBEX ANGEL ORDER finally return with their second full length “II: Void Sermon”. Much more vicious than its predecessor “I”, Void Sermon is a statement. An album which is a reminder of how Black Metal should be executed; Raw, unpolished and fierce. Black Metal is not about remorse but trampling hoofs on the soil of your foes. Void Sermon will be an essential album for all who embrace the illumination of Lucifer. Each track has been forged with precision. Although many acts may produce more albums, IBEX ANGEL ORDER chooses to release when the time is right, and the hymns are manifested fully. Submerge into the depths of the Sermon and dissolve your earthly existence.
TRACKLIST 1 – The Sword and the Sigil 2 – Void Sermon 3 – All Flames of Life Extinguished 4 – Shadow Weaver 5 – Belial Invoked 6 – None am I 7 – Archons Dethroned 8 – Equitem Caprarum
As for this moment IBEX ANGEL ORDER second album, entitled “II – VOID SERMON”, is set for release on a limited run vinyl: -140g 12” Oxblood Vinyl -Black Inner sleeve -Gatefold Jacket -Wrapped
Line-up: K.M.K.: Invocations and Summonings L.D.S. : Ritual Drums and Emanations
Credits: Recorded: Double Noise, fall 2023, with G.Aa Mixed: L.D.S. 2024 / 2025 (Assistance Devo Andersson/ T.T.) Mastered: Magnus Devo Andersson, Endarker Studio, Sweden, 2025 Artwork: Cold Poison Insert art: L.D.S. Photography: K.M.K. Lay-out: L.D.S. Logo: Ubertragic Art Samples: Sasrof (Bloodline/ Diabolicum / ex-Setherial) with fragments of “The VVitch” [Robert Eggers,2015] Guest Vocals on “The Sword and the Sigil”: K.v.H. Lyrics “None am I”: M.v.V. (SauroN / Verbum Verus)
Additional Album Information: Music and lyrics by Hellevaerder. Recording by Arjen Kleiss. Recording & Mixing by Daan Bleumink. Mastering by Devi Hisgen. Artwork by A.A.W.R. Logo by Viral Design.
This is a co-release between Void Wanderer Productions, Zwaertgevegt & War Productions
1. You’ve been active for quite a few years, and your musical journey dates back to the early ’90s. Many people know you primarily from Wurgilnõ and Vergankelijk, but you have much more in your history, such as Inverted Pentagram. Can you tell us about your musical career and how it has developed over the years?
My musical journey began, like many guys in the regio of Limburg (South of the Netherlands) at the time, at a young age with a brass band. At one point, we had three generations playing in the same band: my grandfather on horn, my father on bass, and myself on tuba. After my grandfather passed away, we stopped, and in 1989, I switched to bass guitar. In the summer of 1990, the predecessor of Belphegor was formed, which was renamed Inverted Pentagram in 1992. In 1991 we started Corpusculum as a side project with some members of Belphegor. In 1996, I decided to stop with Inverted Pentagram because things weren’t running smoothly anymore, and there was too little progress.
In 2000, I was asked to collaborate on A Challenge of Honour: a project that combined industrial with folk influences. I worked on that until 2012, with my last performance being at Summer Darkness in Tivoli, Utrecht. After that, I started writing music again for Corpusculum, and since then, I have focused entirely on black metal. This resulted in several demos and, eventually, a full album at the end of that year.
During the 2020 lockdowns, I decided to start a Dutch-language project called Mergelland, with the main theme being Limburgian legends and myths. This project evolved into Wurgilnō in 2022.
2. You’ve witnessed the rise of black metal up close. How do you look back on the early days compared to the scene today? What, in your opinion, has changed—both positively and negatively? And what is, for you, the essence of ’90s black metal, and is that essence still attainable today?
My first encounter with black metal was in 1986 when I saw the Seven Dates of Hell concert by Venom on Sky Channel. It made a huge impression on me at the time. Through VARA’s Vuurwerk and magazines like Aardschok, I quickly discovered a whole new world, with bands like Bathory and Celtic Frost—still my favorite bands.
When I bought my first guitar in 1989, I didn’t initially know how to approach it. That changed when I ordered the Medieval Prophecies EP by Samael. That record made me realize that music didn’t have to be complicated to sound powerful. From then on, that became my guideline: it has to sound heavy to my ears—the rest doesn’t matter much.
When the second wave really started breaking through in 1990, with a flood of new music coming through tape trading and demo exchanges, you could feel that something special was happening. We were entering a new era. Especially the demos from Enslaved, Emperor, Rotting Christ, and Necromantia made a big impact on me. The first album that truly grabbed me by the throat was A Blaze in the Northern Sky by Darkthrone. That album felt like a sign: our time had come!
The biggest difference with the past, I think, is that the ‘romance of discovery’ is gone. Back then, tape trading and writing and exchanging with people all over the world were essential parts of the scene. I would receive packages and letters from all corners of the world every day – sometimes people would even come to the door to collect stamps. Nowadays, you just open Spotify or Bandcamp, and the algorithm tells you what you might like. Contact with bands happens via chat or email, and it’s a matter of seconds instead of waiting weeks for a letter with a trade list. Sometimes, I miss that era. Personally, I’ve always been purely focused on the sound – either I think something sounds heavy, or I don’t. Occasionally, I change my mind about a band. Mayhem or Burzum, for example, never really interested me – too much drama and theatrics, and I still don’t connect with that.
What strikes me is that many bands today are going back to the ’90s sound. That’s fine by me because that style is closest to my heart. But at the same time, it means that, with a few exceptions, there’s not much progression in the genre.
3. You’re a multi-instrumentalist and do everything yourself: guitar, bass, keyboards, vocals, and drum programming. How did that come about? And how do you experience working on studio albums alone compared to playing in a full band?
It’s mainly due to a lack of fellow musicians- the black metal scene here in the region is practically non-existent. Additionally, my full-time job makes it hard to keep regular days or weekends free for rehearsals.
During the years I played with A Challenge of Honour, I taught myself how to make music on my own. I now apply that knowledge to my current material.
The biggest advantage is that, as soon as I have an idea, I can immediately go into my small studio to turn it into music. The biggest downsides are the lack of social interaction, writing songs together, and exchanging ideas. As a solo artist, you often miss the constructive criticism you need to stay challenged. Fortunately, I have a network of people around me who can provide that feedback.
4. Do you record all your music yourself? Do you also handle mixing and mastering, or do you work with others? How does that process look?
Yes, except for one track by Wurgilnõ, where Suffering Souls from Germany played a part. I mix everything myself, but I leave the mastering to someone with more expertise. The Krijtland album was mastered in Sweden, and Vergankelijk – thanks to your tip – was mastered by the very talented Devi Hisgen, who will also handle the mastering for the next Wurgilnõ album.
I usually start by setting the tempo of a track. Then I write a guitar riff and come up with a second guitar part. Next, I experiment with the drums and come up with a bassline. This is how the song slowly grows. Once the rough sketch is done, I fine-tune and “embellish” it, after which I write and record the vocals. Then, I mix everything until I’m satisfied and send it for mastering. This process differs from track to track – some are finished in a few days, while others take weeks to ferment.
5. What has Wurgilnõ released so far, and what does the name Wurgilnõ mean?
Wurgilnō has two albums, an EP, and a South American release where the debut and EP were combined. Originally, the first CD, De Doden Rusten Niet in Vrede, was intended as a demo tape, but Fetzner Death Records wanted to release it as a CD – and who am I to say ‘No’ to that?
The name Wurgilnō is an Old Saxon word that means “body on a gallows.” This is based on a family story about one of my ancestors, who was sentenced as a Bokkenrijder (a notorious bandit) and hanged, with his body left hanging until it fell down by itself. In black metal, it doesn’t get much more grim than that.
6. The music of Wurgilnõ heavily draws from the first and, to a slightly lesser extent, second waves of black metal. What attracts you to that raw sound? And which bands or artists have inspired you the most?
That raw, often simple sound has always appealed to me. I’m not a fan of solos or fiddling around— the rougher, the better. If something sounds heavy, there’s nothing left to improve. The gritty, unpolished sound of bands like Hellhammer, Bathory, and Sarcofago has always affected me more than the polished albums that came later. That’s still the case. Take, for example, the first four albums by Amenra—I think they’re amazing. You can hear the crackling, the noise, and even the mistakes, and that’s what makes an album feel organic.
As for inspiration, I would mention Bathory, Celtic Frost, early Samael, and Sarcofago, but also bands like Beherit and the old Greek scene have had a huge influence on me.
7. How does your music come about? Do you start with a specific feeling or idea?
With Wurgilnõ, I always put together a list of local myths, legends, or historical events from the Limburg region in Belgium and the Netherlands. I then do extensive research into these topics, which forms the basis for my lyrics. Part of it is based on that research, but I also add my own fictional elements.
Musically, it usually starts with a riff, a feeling, or an emotion. From there, I build and try to keep the music as exciting and varied as possible. I’m someone who loves repetitive riffs that go on for a long time, but I have to remind myself not to make them last too long.
8. You choose to write your lyrics in Dutch. Why that choice? And do your lyrics have a specific Dutch or even Limburgian theme?
I actually did everything in English for thirty years, but I discovered that I express myself better in my native language. Plus, we’ve been listening to a lot of Norwegian music since the ’90s, and that was never a problem. Many of my favorite Dutch bands sing in Dutch, and for foreign fans, it has the same exotic appeal as Norwegian, French, or Spanish does for us.
The theme of Wurgilnõ is primarily focused on Belgian and Dutch region of Limburg. This region has a very rich history, and as a history nerd, I found it fascinating to delve into it. There’s more to Limburg than marl and Bokkenrijders!
9. Your latest project, Vergankelijk, with Joris from Nether on vocals, recently released an EP. This project has a very specific theme. Can you tell us more about that? How did you and Joris come together, and how does Vergankelijk differ musically from Wurgilnõ?
Joris and I met at the Samhain Festival, where he and his wife were sitting at a table eating while Benjamin (Saturni Records) and I were looking for a seat. We started talking, and there was an immediate click. After a while, I asked him if he would like to record some lyrics for Vergankelijk. Since he is also a doctor and the theme fit within his professional field, it seemed like a fitting choice. He enjoyed it so much that he ended up wanting to do the entire album—and so we became a duo.
The theme of Vergankelijk is a trilogy about the transience of the human body, divided into three chapters: De Geest (The Spirit), Het Lichaam (The Body), and De Ziel (The Soul). We are currently finishing De Geest, which is primarily about Alzheimer’s and dementia. Before the album, Saturni Records will release two tracks as an 8” EP in early May.
Musically, Vergankelijk is less black metal and leans more towards doom/sludge, with a hint of black metal here and there. It’s all about the feeling, not about sticking to a specific genre—the lyrics of Joris are intense enough.
10. What stands out about Vergankelijk is the prominent and beautifully crafted basslines. Are there certain bassists who inspire you, or does that just come naturally in your playing?
I’ve always found Peter Hook of Joy Division/New Order to be a very influential bassist. Although he mainly plays a Bass VI – a cross between a guitar and a bass – that’s an instrument that’s still on my wishlist. For me, a bass doesn’t necessarily have to be a background instrument; it can take the foreground. Something that the guys from Necromantia understood very well.
11. You also run Merg & Been Records. What does the label specialize in? What kinds of bands do you release? And how is it to run a label in an era of streaming and an overabundance of monthly releases?
Merg & Been grew out of Tenebrae Sumus Records, where I used to release tapes for various international and national acts. For example, I’ve done releases for Salqui, Sacred Son, Apothecary, and Satanic Death. Since Merg & Been, I’ve mainly used it for my own music and focus solely on tapes. The next release will be the Galghe (black metal) tape, followed by Broken Ground (sludge/doom), which looks like a tape but is actually a USB drive.
The market is saturated; nowadays, you have to rely on your loyal followers. That’s why I always work in small editions. Streaming is an inevitable, dark force, but fortunately, the metal scene is still a scene that values physical releases.
12. Merg & Been seems to have become more than just a label; it’s turned into a media platform. Can you tell us more about that?
I’ve been writing for the Portuguese online magazine Blessed Altar for a while now, though it’s only twice a month. Since I really enjoy this activity and discover a lot of new music this way, I decided to add a magazine to the Merg & Been website.
I’ve been working on it for almost a month now, and I’ve already written several interviews and reviews. It’s still new, and the site needs to be filled further. Over time, it won’t be daily anymore because it takes quite a bit of time to do on my own. If anyone is interested in contributing, they can always reach out.
13. You operate deep in the south of the Netherlands. Is there even a black metal scene there? And since you’re so close to Belgium and Germany, do you have many connections with the Dutch scene and bands across the border?
I mainly have connections within the Dutch and Belgian scene. The German scene feels a bit less accessible, even though my German is quite good because I live only a few kilometers from the border. There isn’t really a black metal scene anymore; there are still a few bands here and there, but it’s not what it used to be. However, that doesn’t matter, and thanks to technology, it’s no longer a major problem in 2025.
We’re thrilled to announce the release of Vampyriia’s haunting EP “The Melancholic Charm of the Moon”, an unparalleled journey through raw drone black metal. Let this dark and atmospheric opus captivate you with its ethereal melancholy and cosmic allure.
Raw Atmospheric Black Metal with Dark Ambient and Drone Ambient inserts.
Tracklist:
1. Ghost Of Moon And Cosmic Nebula
2. Visions Of Grim Void Possession
3. Spawn Of Celestial Decadence
4. The Infinite Melancholic Sadness
Born in early 2022 from the creative depths of S. N. Nosfer, Vampyriia has carved out a chilling niche in the underground scene. From eerie demos to evocative collaborations, Nosfer’s visionary work culminates in this soul-stirring release with Void Wanderer Productions.
Immerse yourself in the abyss! Available now on cassette tape for all lovers of the raw and hypnotic.
NEW ALBUM ANNOUNCEMENT! Today we proudly present you the cover artwork, album title, release date, track list + other information for Hellevaerders second full-length album “Fakkeldragers”
TRACKLIST 1. Een bepantserde kroon 2. Krijgers van het niets 3. De laatste dageraad 4. Handen geketend in ijzer 5. Fakkeldragers 6. Schaduwen van satijn 7. Waar wij vlammen trotseren 8. In de ban der lusten 9. Akelig gefluister (bonus track CD)
“Fakkeldragers” will be released on June, 21, 2025. Coming in various physical formats such as: ∆ 12″ Vinyl. ∆ 4P Digipack CD limited to 200 copies. ∆ Pro-Tape. -CD by Void Wanderer Productions (NL) / War Productions (PT) -Vinyl & Tape by Zwaertgevegt (NL) As well as on Digital format through all major platforms and the Hellevaerder bandcamp
Alongside the new album, Void Wanderer Productions will also release a new Merch items: × T-Shirt/Long sleeve/Crew Neck ‘Fakkeldragers’ Preorder runs till May 3th.
FIRST SINGLE Handen geketend in ijzer, is out now. Check it at No clean singing / black metal streams
Additional Album Information: Music and lyrics by Hellevaerder. Recording by Arjen Kleiss. Recording & Mixing by Daan Bleumink. Mastering by Devi Hisgen. Artwork by A.A.W.R. Logo by Viral Design.
We are thrilled to premiere “Timescarred” by UK black metal band Vintras.
Transmissions from the Dark hosts the stream
Vintras – Timescarred Genre: Black metal Formats: CD
For Fans Of: Der Weg Einer Freiheit, Agalloch, Harakiri For The Sky, Panopticon, Altar of Plagues & Mgła
TIMESCARRED presents a suite of six compositions, epic in their melancholy, sweeping in their scope. In sorrow, in pain, in regret and in flickers of hope – a work of passing time in the wake of dream and the shadow of demise.
Black Metal as the natural expression of fury, desolation and despair, permeated with the dark melodicism of 80’s UK New Wave and Gothic Metal that soundtracked and inspired its creation.
VINTRAS was born as a conduit for misery and desperation. The reflection of a disintegrating psyche, ebbing and flowing through peaks and troughs of depression, frustration and anger. What has been endured has been channelled into a singular expression beyond the mortal coil, beyond the ordeal, beyond the physical. What was known is no more, now captured as immaterial missive within the flickering of timeless flame.
The vision of the self: a figure desperately fighting against the inevitable slide down the spiral. The realisation that we are all trapped as one: trapped by our past and unable to escape our future. A perpetual existence, wretched and forlorn.
Vocals recorded at Sonorous Studio Drums recorded by Robin StoneDrums Mixed & Mastered by Sonorous Studio Artwork – ‘Study of the Pain’ by Devinez Photography by KJS Layout & Logo by Archaos Graphics
In the labyrinthine world of underground music, where authenticity reigns supreme and artistic vision eclipses commercial ambition, choosing a format—vinyl, CD, or cassette—is more than just a logistical decision. It is an act of storytelling, a way to encapsulate the spirit of the music and the ethos of the label.
For underground labels operating on tight budgets and even tighter margins, this decision can feel like choosing between children. Each format comes with its own advantages and challenges, requiring a careful balancing act of artistry, practicality, and market appeal.
Vinyl: The Prestige Player
Vinyl is the undisputed champion of physical music formats in terms of cultural cachet. Its large, tactile artwork and rich, warm sound have an almost romantic allure that resonates with audiophiles and collectors alike. In the underground scene, vinyl can elevate a release, bestowing it with an air of permanence and gravitas.
However, vinyl production is fraught with obstacles. Pressing plants are often backlogged, with wait times stretching into months, and costs can be prohibitive for small labels. For a niche audience, the higher price point may also limit accessibility. Nonetheless, for those seeking to make a lasting impression, vinyl remains the crown jewel.
CDs: The Workhorse
Often dismissed as passé, the CD remains a practical and versatile option. It offers excellent sound quality at a fraction of the cost of vinyl and is straightforward to produce. For underground labels looking to reach a wider audience or fund riskier projects, CDs can be a reliable revenue stream.
Yet, the CD’s lack of a “cool factor” can be a stumbling block. In a scene where aesthetics matter as much as the music, the humble compact disc may struggle to excite fans. However, pairing CDs with creative packaging can rekindle interest and make them a viable contender.
Cassettes: The Cult Classic
Cassettes embody the true DIY spirit. Their low production costs and quick turnaround make them ideal for underground labels operating on shoestring budgets. They also cater to a growing niche of fans who appreciate the nostalgic charm of analog audio.
However, cassettes are not without their limitations. Their sound quality falls short of modern standards, and their fragility can pose issues for collectors. Despite these drawbacks, their retro appeal and affordability make them a staple in the underground scene.
The Crossroads
Ultimately, the choice between vinyl, CD, and cassette boils down to the label’s identity and goals. Are you aiming to create a collectible artifact, reach the broadest audience, or tap into a retro aesthetic? Each format tells a different story and serves a different purpose.
In an era dominated by digital consumption, physical formats remain a symbol of dedication and passion—an avenue for underground labels to forge deeper connections with their audience. Whether it’s the crackle of a vinyl record, the clarity of a CD, or the hiss of a cassette tape, each choice reflects the unique voice of the underground.
Each time a label prepares a new release, it faces the daunting decision: which format should we choose this time? Behind this choice lies a series of critical questions—how many copies are likely to sell? Is it an EP or a full-length album, and does the runtime influence the choice? Most importantly, which format best complements the subgenre?
It is undeniably encouraging for labels when one format consistently outperforms the others. This success often streamlines future decision-making, leading to quicker format selections for upcoming releases.
Of course, it is even more motivating when a label receives direct requests for a second format alongside the original release. However, such enthusiasm is usually contingent on the initial release performing well in the first place.
![Hellevaerder - Fakkeldragers [CD]](https://voidwanderer.com/wp-content/uploads/2025/03/1000034040-416x291.jpg "2025/03/1000034040.jpg")
![Hellevaerder - Fakkeldragers [Merch]](https://voidwanderer.com/wp-content/uploads/2025/03/1000034041-416x312.jpg "2025/03/1000034041.jpg")
![Ibex Angel Order - II: Void Sermon [LP] Pre order!](https://voidwanderer.com/wp-content/uploads/2025/05/1000036794-416x295.jpg "2025/05/1000036794.jpg")
![Vampyriia - The Melancholic Charm of The Moon [MC] preorder](https://voidwanderer.com/wp-content/uploads/2024/11/1000029124-416x277.jpg "2024/11/1000029124.jpg")
![Vintras - Timescarred [CD]](https://voidwanderer.com/wp-content/uploads/2024/11/1000026282-416x416.png "2024/11/1000026282.png")
