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Review: Originally featured on the soundtrack to The Hangover II (of all movies), 'Black Hell' from Misfits mastermind and all round evil Elvis curmudgeon Glenn Danzig finally comes to vinyl for its first time ever in both 12" format and in the form of this limited orange splattered 7" (just in time for spooky season). Featuring 'Thirteen' on the flipside (originally appearing on Danzig 6:66 Satans Child whilst made abundantly more popular by Johnny Cash's cover version), this is a perfect little slice of sultry, macabre wax to get the Halloween ghouls doing their best hoedown.

Review: Th eighth full-length from former Misfits horror-crooner Glenn Danzig's solo project/band served as their first LP to not carry a number, following 777: I Luciferi which angled itself as the closing work of that initial seven volume sequence. Originally released in 2004, Circle Of Snakes continues the descent of Danzig into a rawer, more abrasive form of metallic leaning gothic hard rock, with a notable lowering of vocals in the mix in order to elevate the churning jaggedness of the instrumental rumble. Continuing to eschew the more industrial programming of previous Danzig entries and echoing the stripped back approach of 'Danzig 1' and the increased heaviness of the aforementioned Luciferi, the album would also mark the first appearance of Tommy Victor of Prong on guitars, helping to aid the audible malevolence and ultimately leading to one of the strongest contributions to Danzig's latter day 21st century output.

Review: Released first round time in 2002, Danzig's 777: I Luciferi is a step away from the programmed industrial influences of the two albums that preceded it in favour of a return to the metallic, rawer sound that helped Glenn Danzig stand apart from his horror shadowed punk beginnings. Now, more than 20 years on, this reissue is a reminder of Luciferi as a high watermark in the later work of one of the most controversial figures in metal, punk and hard rock.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.