 |
LINGUA IGNOTA |
|
Let the Evil of His Own Lips Cover Him (2017) |
 |
 |
Neoclassical Darkwave, Death Industrial |
- |
0 |
|
LINGUA IGNOTA |
|
All Bitches Die (2017) |
|
|
Death Industrial, Neoclassical Darkwave |
- |
0 |
|
Exit Eden |
|
Rhapsodies in Black (2017) |
|
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Neoclassical Metal, Power Metal, Symphonic Metal |
- |
0 |
|
Leah McHenry |
|
The Dragonborn Comes (2017) [Single] |
|
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Neoclassical New Age, Soundtrack |
- |
0 |
|
Tarja |
|
From Spirits and Ghosts (Score for a Dark Christmas) (2017) |
|
|
Christmas Music, Classical Crossover |
- |
0 |
|
Anna von Hausswolff |
|
Dead Magic (2018) |
|
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Neoclassical Darkwave, Ethereal Wave, Drone, Ambient, Experimental Rock |
- |
0 |
|
Impellitteri |
|
The Nature of the Beast (2018) |
|
|
Power Metal, Neoclassical Metal |
- |
0 |
|
Syu |
|
Vorvados (2019) |
|
|
Neoclassical Metal, Power Metal |
- |
0 |
|
LINGUA IGNOTA |
|
Caligula (2019) |
|
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Neoclassical Darkwave, Death Industrial |
- |
0 |
|
Vatican Gun Club |
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Onaip (2021) [Single] |
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Electronic, Jazz, Rock, Non-Music, Classical |
- |
0 |
|
Vatican Gun Club |
|
Dedacited (2022) [EP] |
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Experimental, Industrial, Improvisation, Noise, Classical, Dub, Abstract, Avant-garde, ... |
- |
0 |
|
Leah McHenry |
|
The Glory & The Fallen (2024) |
|
|
Ambient Metal, Celtic Metal, Folk Metal, Neoclassical Metal, Power Metal, Progressive Metal, Symphonic Metal |
- |
0 |
