Metal Vinyl 381 Items

Blue vinyl Limited edition. With CD. Cover is close to NM.

Magenta transclucent vinyl. With CD. Cover is close to NM.

Even if this album has already been released 9 months ago, Heavy Psych Sounds Records had the guts to make another pressing cause fell in love with the album! Pink Cigs are truly inspired by the 70’s kind of sound and they can write songs like if they were living back in the 70’s. The sound is devoted to the low-fi, raw rock n' roll of the Freak Age, mixed with a lot of cool guitar riffs, and groovy drumming.The attitude is the one you could find back in the days, they play a unique sound of Acid Rock, Fuzz Rock, Heavy Blues, Garage Psych. They are sons of the magik trinity: Stooges-Blue Cheer-MC5 but also perfect for fans of early Pentagram, Witchfinder General, Black Sabbath. 10 incredible tracks will glue the listener until the end of the last song !! Biography: Pink Cigs is a fuzzy head band from the Lughole Sheffield, UK. They play unique sound of Acid Rock, Fuzz Rock, Heavy Blues and Garage Psych. For fans of: Stooges, Blue Cheer, MC5 but also early Pentagram, Witchfinder General and Black Sabbath!!

Black Friday Record Store Day 2020 Release.
RSD First. Limitation: 3500 copies.

Live at Maida Vale BBC - Vol. II is a limited edition RSD exclusive splatter EP that capture's the band's BBC Maida Vale session from September 2019. It contains four live ver

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the Nola metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs. With personal liner-notes, that set the scene and describe the unique vibe of the band’s sound and live show, including old flyers and posters from concerts and photos of the different line-ups from 1990 until today, the package is an immersive insight into one of the paramount heavy Sludge bands of our time. A vision of pain and neglect, they’ve done thousands of shows, never predictable in their tension and ultimately, release. Glory in their downtuned vision of depravity and despair, for the End Times aren’t coming, they’re here and they’ve always been here. Revel in the power of Nines, in the power that is Eyehategod. Licensed from Century Media and released in a limited edition of 600 on black vinyl, and 400 on green splatter vinyl. Expertly remastered by Jaime Gomez Arellano (Paradise Lost, Cathedral, Ghost).

High Roller Records, reissue 2023, orange/ white splatter vinyl, ltd 250

Repress of the debut album in a new colored version. As much Detroit, the nine-track debut full-length from Italian three-piece Killer Boogie, boasts raw proto-punker tones, upbeat shuffle and relentless groove with just a touch of psychedelia in its scorch, even more pervasive throughout the Heavy Psych Sounds release is a sense of self-awareness. Led by guitarist/vocalist Gabriele Fiori, also of Black Rainbows, Killer Boogie come across as more geared toward the retro-style '70s rock currently holding sway on the European scene in the wake of Graveyard‘s blues rock supremacy, but their take is rawer than most, and that gives them an edge. An incredible debut album !! Biography Fuzz Fuzz Fuzz!!! Killer Boogie is band well versed in the making of ’70s riff making; a new machine in the retro ’n’ roll scene adept at mixing bluesy frequencies into an extremely fuzzy sound with psychedelic shades.The band is formed by Gabriele Fiori on guitars and vocals, Luigi Costanzo on drums and new bassist Nicola Cosentino who joined the band for the new album in early 2017. Their debut album "Detroit" in early 2015 surprisely recieved much attention and great feedbacks, who bring the band to play at Desert Fest Berlin and Duna Jam. After a split with other cool bands of the scene as Golden Grass, Banquet and Wild Eyes the band wrote a wonderful sophomore album in the spring 2017 and recorded in the summer. Acid Cream was released in March 2018 via Heavy Psych Sounds Records. Killer Boogie is a power retrofuzzriffprotopunkacidblues trio, obsessed by early fuzz pedals, catchy riffs, 60s and 70s iconography Killer Boogie grounds its roots in the sound of Blue Cheer, The Stooges, MC5 and Cactus.

Azusa have inked new partnerships with Indie Recordings and Solid State Records to release “Loop Of Yesterdays”, the highly anticipated follow up to 2018’s critically acclaimed “Heavy Yoke”. Although equally broad in scope, “Loop Of Yesterdays” finds the band with more to say but less to prove, achieving a more aerodynamic and accessible approach to their intricate sense of song-writing and inherently technical style. On their sophomore release, Azusa step off the tightrope and stand with feet on solid ground. Expanding on ideas first presented on 2018’s album Heavy Yoke, Azusa seek to captivate audiences with their unique blend of melodic-thrash, jazz-fusion, hardcore and early 90’s riff pop sensibilities.

Los Angeles based outfit THE GHOST INSIDE is poised to release their fifth studio album. The self-titled album is a true triumph over adversity. The band was involved in a shocking road collision one tragic night in November 2015; a truck crashed into the band's tour bus near El Paso, Texas, killing both the bus driver and truck driver as well as leaving vocalist Jonathan Vigil, guitarist Zach Johnson, and drummer Andrew Tkaczyk in critical condition. Tkaczyk was in a coma for 10 days and eventually lost his right leg. The metalcore heroes have spent the past four years recovering, with each member documenting their recovery process openly. In February 2019, the band released a video featuring some new music they were working on in the studio. Shortly thereafter, they also announced their first concert since the bus crash. It was to be a "one time only" event to take place in August in Los Angeles. 7000 tickets sold out within five minutes after they went on sale on March 1st. Bassist Jim Riley speaks of the writing process for the new album, "For anyone that has followed the story of THE GHOST INSIDE for the last 5 years, one line in "Aftermath" sums it all up: "Triumph over tragedy". We went into the writing process knowing full well that every song and every lyric would be influenced by what we've been through, but we tried our best for them to be relatable to everyone. With "Aftermath" we let it be much more personal - this one is us telling OUR story. So when it was time to choose a first song to share with the world, it felt right for it to be "Aftermath". It allows anyone that listens into our world, but it also lets us put final punctuation on that chapter of our lives. "Aftermath" is a total catharsis for us. We let it all out in the song so that it's not bottled up inside us anymore and we can heal and move on, since after all, the beat goes on".

50th Anniversary, 180gr pressing.

The fourth studio album from Italian progressive doom metallers, Novembre! 'Novembrine Waltz' was an even more melodic, clean and more experimental record than its predecessor. Novembre were evolving fast and the word 'prog' defined everything the band were trying to achieve on every record they put out. Includes a cover of Kate Bush's 'Cloudbusting', featuring Ann-Mari Edwardsen (The 3rd And The Mortal).

The whirlwind of heavy, fast, melodic, thrashy, and often meditative bombast, with sparks of hardcore punk, summoned by Killer BE Killed is the formidable and inevitable result of the sum of its parts, whose combined discography warped and shaped the culture.

Photosynthesis is a concept album about how plants convert sunlight into energy, how they transform carbon dioxide into the oxygen that all fauna need to breathe. The album’s eight tracks each deal with an aspect of photosynthesis, from the macro “Water” to the micro “Palisades,” which reflects the theme of botanical lungs on a microscopic level. The album culminates with “Oxygen,” holding high the imagery of “Verdant Alveolus Diaspora,” the album’s core visual theme, depicting the world’s forests as a functioning lung system’s individual cells, scattered throughout the globe. Photosynthesis is the fourth “collective” album in Botanist’s greater discography, meaning it is composed of a group of individuals. Band originator Otrebor (hammered dulcimers, vocals, keyboards) composed the music and lyrics to the drums of returning member Daturus (Botanist’s live drummer since 2017, who played on 2019’s Ecosystem) and new bassist Tony Thomas. Photosynthesis sees Botanist returning to The Flenser stable, whose partnership yielded three albums, including 2014’s VI: Flora, perhaps the project’s most noteworthy work. This release was recorded in the Verdant Realm in California. The album production was handled by Dan Swanö, a musician whose legend is equally for his enormous contributions to the Swedish melodic and progressive death metal scenes in the ’90s and ’00s, as he is for his output of top-shelf album productions from his Unisound studio. The application of Swanö’s creative genius in more artistic, avant-garde areas of the metal spectrum is a match of dreams for Botanist, resulting in an album that achieves a new level of the project’s expanding vision with production excellence.

Comes in a gatefold jacket and Includes a lyric insert, Orange/Green swirl colored vinyl.Filth-ridden death metal, for fans of Morbid Angel, Death, Massacre, Monstrosity, and the classic Florida sound.Formed in 2014, Cemetery Filth have consistently crafted death metal of the highest quality, starting with their debut EP, Screams from the Catacombs. Dominion is their first full-length, boasting nine songs that will crack necks.Press Quotes:A modern death metal classic. _Metal InjectionOne of the stand-out death metal albums of 2020. _No Clean SingingAbsolutely essential. _Indy Metal VaultI couldn't be more impressed by this well-crafted and highly considered debut. _Grizzly Butts

Relentlessly rotten death metal with an unearthly interest in all things absurd, morbid, and diseased.Chicago death metal masters.

For Sleepwalker, we wanted to come up with an original take on the stoner/doom genre. The use of heavy riffs and melodic harmonies conveys a unique listening experience that feels both new and familiar. We felt like we had a lot to say on this album, and we hope it speaks for itself.

Mamaleek seeks to weaponize the tropes of blues, jazz and black metal through an understanding of their respective formal structures. Known for flouting genre conventions, the band’s newest album Come & See, marks yet another degree of separation from their black metal roots. Here Mamaleek draws inspiration from post-war public housing—specifically Chicago’s notorious Cabrini Green housing project—seeking to analyze the emotional impact of the spaces one occupies, the surreal forces behind the appearance of physical reality, and the residues they leave behind. This is the band’s third full-length album for The Flenser, and their first release written and recorded with a full band.

Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre often renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers.

Still in shrink but opened with hype sticker. With insert. Few scuffs.