Metal Vinyl 381 Items

Red Mesa is a psychedelic, bluesy desert rock trio from Albuquerque, New Mexico, who churn out hook-laden jams and blistering live performances as only a band from the actual desert can. Red Mesa will release their third full-length album The Path to the Deathless in May 2020. This album is a concept record about following you passions, hopes, and dreams through eternity.

Re-Mastered version of this compilation by Magnus Lindberg (Cult of Luna, Entombed, Imperial State Electric among others). Their lifespan would be short but not the impact or influence this Swedish band would have on the entire extreme music scene. Sure they were youngsters at the time, but this band would help to cultivate the sound that birthed and initially propelled the now-and-forever signature European death metal sound - one that is still viable and as exciting today.

Built upon a concept stained with inspiration drawn from great elder poets like Johannes Edfelt, Pär Lagerkvist & Dan Andersson among others GRIFT delivers rugged, hackneyed & melancholic metal in a way most pleasant.

Re-recording of the bands demo tape from 2006, now on vinyl!
Mastered by Jonas Lindström (Ereb Altor, Isole, etc).
Includes a free CD in cardboard sleeve with the original demo from 2006.

Deep blood red vinyl. Still in shrink, but opened, with hype sticker. With bonus CD

Vanguard is a metallic hardcore band based out of Houston, TX; formed during the Covid-19 quarantine of 2020. Vanguard is unapologetically a vegan-leftist band, and actively supports and promotes a host of critical social and political causes, both lyrically and through the direct action and activism of its members. The band is ideologically tied to the animal liberation movement, endorses socialistpolitical theory, is vehemently anti-fascist, and believes and fights for the political, legal, educational, and economic equality of all people, regardless of race, gender, orientation, or class. Their message and sound come exploding out of the gates with a style that nods to the storied militance and aggression of metallic hardcore from decades past, while injecting the sound with their own unique modern ferocity and urgency.

Originally known as 'Raw Noise', Extreme Noise Terror were one of the first bands to play an aggressive style of crust punk. This crust punk would later be known as grindcore. They were highly influential, inspiring the start of countless crustcore bands.

Karg was founded back in the summer of 2006 as a one-man project by J.J. of Harakiri for the sky. Between 2010 & 2014 Karg was fully formed as a band to play gigs, formally in Germany, Austria and Central Europe. In the years till 2018 Karg was, like in its beginning, held as a one-man project and released two more albums. With the release of Kargs sixth studio album “Dornenvögel” Karg will celebrate its rebirth as a live band for a few special dates from now on.

Cover closer to NM. Golden vinyl, etched.

Hells Headbangers is proud to present SKELETHAL’s highly anticipated second album, Unveiling the Threshold.

Half-Speed Master

‘Primeval’ is the third recording by Venom Prison on Prosthetic Records and comprises both new and historic material from Venom Prison, bringing new life to favourites such as “Usurper of the Throne” from their Defy the Tyrant EP and “Babylon The Whore” from their ‘Primal Chaos’ EPs respectively, both of which were released in very limited pressings during 2015.

Obsidian… dark, reflective and black: it’s a pretty decent description of the music that PARADISE LOST have been making over the last 32 years, even though this most resilient of British metal bands have stoically refused to be pinned down to one easily defined formula. Powered by a lust for creativity and a stout devotion to haunting heaviness, PARADISE LOST have defied the odds by coming back stronger than ever over the past decade.

The time has arrived for TESTAMENT to unleash new thunder to the masses and reveal their thirteenth studio album: Titans Of Creation. Just as the elements of this planet thrive within all living creatures, each musician in TESTAMENT represents a necessary component of this latest musical endeavour. Still filled with a massive and unstoppable energy since their last release, TESTAMENT has taken their style to the next level and present an album that is loyal to the roots of traditional thrash metal while still bringing alluring, brilliant, and progressive ingredients to the table. Bass is showcased, new vocals are introduced, and as expected, the guitarwork of Peterson and Skolnick is greatly complex and mesmerizing.

Out of the blue comes Vástígr, the Vienna-based project of guitarist and vocalist Þ. Without any warning nor notice the one-man band unleashed upon the world its first full-length studio album called Aura Aeternitatis, a musical “journey of an unyielding, solitary spirit striving through melancholy and desolation”.

Since 2012, Nero Di Marte have been devoted towards creating experimental, yet heavy music contaminated by prog, death metal, psychedelia and contemporary classical music. Though not a "concept album", as each song goes into a very specific and unique direction both musically and lyrically, there is an overall underlying theme in 'Immoto': creating a motionless, transformative space within ourselves from which creativity, actions and relationships can manifest in a more meaningful way.

Still in shrink but opened with hype sticker. Tiny wear. Vinyl is close to NM.

H.A.Q.Q. is the fourth studio album by transcendental black metal band Liturgy. Featuring their characteristic yearning guitar harmonies, epic song structures, and intense drumming, H.A.Q.Q. boils over with harp, piano, gagaku ensemble, pitched percussion, strings, and digital manipulation. It represents a consolidation of the band's sound to date, a combination of the mathematical complexity of 2011's Aesthethica and the glitchy experimental fervor of 2015's The Ark Work. While ecstatically invoking heaven, H.A.Q.Q. is also Liturgy's most vulnerable record for Hunter Hunt-Hendrix, addressing anger and struggles around mental health, sexuality, and religion. In part a reflection on Liturgy's uniquely controversial career, it attempts to render the spirit of a cultural era whose basic fabric is unravelling, and to generate an energy of prophecy and love in the name of what is to come.

Oakland black/death metal plague wielders Dearth finally debut with their long awaited and highly anticipated first full-length album To Crown All Befoulment, a sonic reign of terror clawing deep into the most wretched, abominable, and hideous realms of human nature. Nihilistic beyond comprehension and sonically devastating, on the crushing debut LP Dearth explore incomprehensible thresholds of disgust and abjection through a sonic arsenal forged deep into in the most tormented circles of hell, unleashing a cataclysm of dark death metal horror that will leave the listener scarred and ravaged. Thorough an inescapable maze of oppressive death metal riffs and malefic atmospheres, the Oakland death-bringers have drawn influence from extreme metal titans like Dead Congregation, Deathspell Omega, Lucifyre, Demoncy, and Pseudogod to assemble a mortal weapon of mass extermination that symbolizes and glorifies the complete and implacable eradication of humanity in its every form and manifestation.

Thunderous bass, powerful drums, sharped riffs, fierce vocals and yet a great piece of melodic heavy metal. Lady Beast celebrate 10 years with the 2020 release of their fourth full length studio album ‘The Vulture’s Amulet’.

Origin of the Alimonies is Liturgy’s fifth full-length album and their first to fully integrate Hunter Hunt-Hendrix’s vision of total art, or what she calls Perichoresis, with her musical compositions. The music amplifies a dramatic narrative addressing the question of the origin of all things, which itself aesthetically grounds the content of Hunt-Hendrix’s ongoing philosophical YouTube series on her System of Transcendental Qabala.

The album is by far Liturgy’s most meticulous and radical statement, pushing their characteristic synthesis between black metal, minimalism, experimental club music, and 19th–century romanticism to new extremes. Exploring microtonality, free improvisation, polymetric structures and Richard Wagner’s ideas of musikdrama and leitmotif, Hunt-Hendrix employs her unique “burst beat” technique to bind together the rhythmic signatures of metal, experimental club and classical music in the service of speech patterns and narrative flow.

Featuring the virtuosic playing of bandmates Leo Didkovsky, Tia Vincent-Clark and Bernard Gann, the entire album also includes flute, piano, harp, strings and horns performed by a 8-piece chamber ensemble drawn from New York’s various avant-garde music scenes.

Influenced by kabbalah, German Idealism and French post-structuralism, the opera tells the story of a cosmogonical traumatic explosion between Oioion and Siheymn, a pair of divine beings whose thwarted love tears a wound from which civilization is generated, producing the Four Alimonies of the intelligible universe and the task of collective emancipation.

Outside the narrative frame, the piece is meant to foster productive discord between the modes of attention and political commitments that implicitly accompany its various genres, as well as to hover in the liminal territory between the music industry, the art world and the contemporary philosophy community, reiterating the message of Jesus via William Blake by belonging nowhere, only half-comprehensible within any established framework, puncturing hypocritical ideologies while crying out in the name of love.

The album is accompanied by a new, eponymous album-length operatic video written, directed, shot, edited by and starring Hunt-Hendrix, who uses her evolving body, in the wake of her recent gender affirmation as a trans woman, as the medium for the story.

The beginnings of Grave Digger date back to 1980. After various appearances at small festivals, the band recorded a song for the compilation album “Rock From Hell” in 1983. A year later, Grave Digger released their debut album “Heavy Metal Breakdown”, second album “Witch Hunter” in 1985. Then some changes happened in the line-up. Further festival appearances, a tour as the supporting act for Helloween, and a triple headlining tour with Celtic Frost and Helloween, followed before the release of the third album “War Games” in January 1986, still on Noise Records, as the previous ones. Then Uwe Lulis on guitar joined the band in 1987 and the band's name was changed to Digger, the name under which they released the album “Stronger Than Ever”. This album hardly had anything in common with the earlier music of Grave Digger. It was more an attempt to reach the masses with mainstream rock like that of Bon Jovi or Van Halen. The album flopped, as it was not readily accepted by fans nor the mainstream. As a result, Chris Boltendahl declared the break-up of the band at the end of 1987. However, the band partially reformed in 1991. Chris Boltendahl and Uwe Lulis, along with two newcomers, Tomi Göttlich and Jörg Michael (Rage, later in Running Wild, Stratovarius), released a comeback record, “The Reaper”, returning to the true roots of Grave Digger. “Symphony Of Death” followed in 1994, with the same line-up of “The Reaper”. In the meantime, Grave Digger, now with new drummer, Frank Ullrich, toured Germany, playing as the supporting act for Manowar. In 1995, the album “Heart Of Darkness” was released, considered one of the best of the band. In 1996, Stefan Arnold became the new drummer. This year also marked the release of the concept album “Tunes Of War”, which dealt with the early history of Scotland. The second album, “Knights Of The Cross”, with Jens Becker (Running Wild) on bass, was completed in 1997 and was about the rise and fall of the Knights Templar. The third and final part of the middle-age trilogy, “Excalibur” (1999), explored the legend of King Arthur and the Knights of the Round Table. Shortly after the band embarked on a world tour and was joined by keyboardist Hans-Peter Katzenburg, who later became a permanent bandmember. In 2000, Grave Digger celebrated their 20th anniversary. To mark the occasion, they performed a sold-out concert at the Zeche in Bochum. This concert marked a defining chapter in the band's history, as Uwe Lulis left the band shortly before the show due to both personal and business-related differences. A replacement was found in ex-Rage guitarist Manni Schmidt, who first appears in “The Grave Digger” (2001) with lyrics of the album inspired by Edgar Allan Poe's books. Their first live album, “Tunes Of Wacken”, was released in 2002. About a year later new album followed, entitled “Rheingold” inspired on the opera “Der Ring Der Nibelungen” by Richard Wagner. After the successful Rheingold-Tour the band recorded a new album, “The Last Supper” (2005). All these last 4 albums were released under Nuclear Blast. 2007 saw the release of “Liberty Or Death” (on Locomotive Records) and later that year, Grave Digger performed at the legendary Wacken Open Air. In October, a new member joined the Grave Digger family, Thilo Hermann (Running Wild) became the second guitarist. Grave Digger split with Locomotive, dealing with Napalm Records. “Ballads Of A Hangman” was released in the summer of 2009 entering the charts in Austria and Switzerland, it reached number 31 in the German Media Control Charts. Fueled by the tremendous feedback, they embarked on an extensive tour, also playing selected shows at numerous European festivals. Due to personal and musical differences, both guitarists Thilo Hermann and Manni Schmidt left the band, prior to entering the studio. Axel Ritt took over all guitar duties on “The Clans Will Rise Again.” With lyrics returning to the Scottish Highlands. To mark their 30th anniversary, Grave Digger invited many guests on stage at the Wacken Open Air 2010 to join in the celebration. The amazing reaction of the fans and the outstanding chemistry of those involved led to the fantastic double package “Ballad Of Mary” and “The Clans Are Still Marching”. On their latest album “Clash of the Titans”, Grave Digger entered the legendary realm of Ancient Greek and its gods and creatures. After this release the band recorded, always for Napalm Records, 3 more albums "Return of the Reaper", "Healed by Metal", "The Living Dead" and "Exhumation, The Early Years" compilation.The new recording is planned for 2020. With this long discography in over 35 years of career, Grave Digger shows to be one of the most longeval and appreciated band devoted to classic and old school HM.

Still in shrink but opened with hype sticker. Green/White vinyl. tiny wear. Limited edition.