Metal 224 Items

Helsingborg put refactors Bastard Grave have once again stewed up another foul taste with their third album “Vortex Of Disgust”!

With their bewitching and elegant sense of absolute rotten Death Metal, “Vortex Of Disgust” is remarkably the band’s zenith; shaping the old form of tried-and-true Scandinavian Death Metal and coalescing into an unmerciful clobber of swamp-soaked riffs truely unique to Bastard Grave.

Recorded by Bastard Grave except for drum recording by Ulf Blomberg at The End Studio (Crawl, Age Of Woe, Exhale, Inevitable End, etc). Mixed and mastered by Greg Wilkinson at Earhammer Studio (Autopsy, Chaotian, High On Fire, Atrament, etc) and artwork by Thomas ”Necromaniac” Westphal (Cryptic Brood, Morbific, Deserted Fear, etc).

One of New Jersey’s foulest Hm-2 vehemence to come up in recent years, Lunar Blood transpires a brand of vile chainsaw-violence on the debut “Twilight Insurgency”! While Lunar Blood dwells immensely in the realms of all-out-war extreme Metal atrocity, it is the Hardcore/Punk sensibilities that strengthens the very core of the band; sonically giving “Twilight Insurgency” an urgent pulse amidst the harsh dystopian nature ingrained in the DNA of Lunar Blood. Lunar Blood draws inspiration from the disgust of the worldly and social themes such as war, human cruelty, state violence, oppression, queer liberation and mental turmoil. Formed only in November 2020, Lunar Blood very quickly recorded a two-track demo simply titled “Demo 2020” under the engineering helm of Scot Moriarty at Backroom Studios. Comprising of previous members from Blackened Crust band Woodland Tomb, Lunar Blood continued in the same musical direction, albeit more Death Metal. Engineered and mixed by Scot Moriarty at Backroom Studios (Sunrot, Heavy Sigh, Unhinge, etc) and mastered by Brad Boatwright at Audio Siege (Trap Them, Gatecreeper, Full Of Hell, etc). Artwork by German illustrator Misanthropic Art (Bell Witch, Asphyx, Chapel Of Disease, etc). The artwork for “Twilight Insurgency” was done by German illustrator Misanthropic Art (Bell Witch, Asphyx, Chapel Of Disease, etc).

Ambitious in scope and concept, When No Birds Sang not only showcases the bands' creative highs, but also some of humanity's woeful lows- and they introduce this body of work with "Spend The Grace." An unnerving melody gives way to cathartic growls atop a sparse beat, and guitars buzz beneath gritty vocals only to spiral out into trudging distorted crescendo.

Architects have delivered their 10th studio album; an arena-ready opus entitled, the classic symptoms of a broken spirit , the follow up to their 2021 breakout album For Those That Wish To Exist, which hit #1 on the UK sales chart. Finding yourself with a UK Number One album and selling out arenas is enough for some to repeat a winning formula. Architects however, are forever moving forward. "It was definitely validating and felt really cool for like a day," recalls drummer, producer and songwriter Dan Searle of hitting the top spot with For Those That Wish To Exist. "For a lot of the bucket list things you reach in any career, there's a momentary gratification then you're like, 'What next?' You just move on. By the time the album came out, my head was already in the mindset of 'broken spirit'. That was where I was at." Searle notes how it was their albums Lost Forever/Lost Together, All Our Gods Have Abandoned Us, and Holy Hell that really "cemented what the band was about" and "took them to a new level" as a rock powerhouse and leaders of the UK's metalcore scene - making it all the more "daunting" to reinvent themselves on the records that would follow. "I wanted to make this album with a different aesthetic. We were enjoying working with the synths and doing stuff that we hadn't done before." As a band who never stop writing, the kernels of the songs that make up the classic symptoms of a broken spirit were already in progress before the ink had time to dry on the artwork of their last record. Architects were on a creative roll, and the record was born of that creative freedom. Produced by Dan Searle and guitarist Josh Middleton, with additional production from frontman Sam Carter at Decon's Middle Farm Studios and their own Brighton Electric Studios before being mixed by Zakk Cervini, the band were buoyed by finally being back in a room together after their last album was made mostly remotely due to Covid restrictions. The result was something altogether more "free, playful and spontaneous," Searle explains. Carter agrees: "This one feels more live, more exciting and more fun - it has that energy. We wanted it to be a lot more industrial and electronic. That was the main mission. They can sit side-by-side: Mr. Electronic and Mr. Organic."

In many ways, Opeth’s Blackwater Park can be considered as their answer to The Beatles’ Revolver, both uncompromising and experimental, but equally commercially viable and unfuckwithable masterpieces. Twenty years on, Blackwater Park remains a breath-taking piece of work, dense with extraordinary melodic moments, spine-tingling atmospherics and agile but crushing heaviness. It is also arguably still the most cherished album in the Swedish metallers illustrious catalogue as a rising progressive influence kicked open prog’s ornate doors, fed death metal through the cosmic kaleidoscope and introduced a generation of music nerds to a world of limitless musical possibilities. After four albums of imaginative and immersive heavy music, the band were primed and ready to make a career-defining statement. At the time, the metal world was flailing in a state of post-grunge confusion, meanwhile, Opeth were forging an entirely unique and fearlessly creative path. Back in 2001, prog was steadily being rehabilitated in the eyes of the mainstream, but there was still something audacious about Opeth’s rise to prominence. With several songs passing the ten-minute mark, Blackwater Park was no kind of commercial compromise. Instead, its popularity and acclaim proved a couple of valuable points: that music fans (and metalheads, in particular) are often vastly more open-minded than they are given credit for, and that depth, subtlety, sophistication and imagination were all credible selling points.

140g vinyl. "Draconian Times MMXI - Live" is the third live album released by doom metal veterans Paradise Lost. Recorded in London in 2011, the band played the classic 1995 album in its entirety. Now available as limited Edition Colored Vinyl courtesy of Back On Black Records.

CLOTTED SYMMETRIC SEXUAL ORGAN or C.S.S.O. was founded in 1993 and made an immediate impression with the grind/noise experiment, which works like a razor blade Q-tip. Like their contemporaries, the band has released a wheelbarrow full of splits and singles that are now being re-released on this double. Classics like the split 7" EP with Meat Shits, the tracks from the - "Grindwork" MCD, the split 7" EP with Vivisection, the split 7" EP with Demisor, the split 7" EP with Mastic Scum, the split 7" EP featuring Dead Infection, plus compilation tracks and unreleased material from the period, as well as four brilliant covers CARCASS, GENERAL SURGERY, REGURGITATE and NAPALM DEATH. What will really break your head is the fusion character of this kaiju mutation.The band combines styles like few on the scene and adds psychedelic distorted moments to a few tracks while the vocals pound like a Godzill...

Australian death metal monstrosity Impetuous Ritual are unleashing their new album Iniquitous Barbarik Synthesis. It is the follow-up to 2017’s Blight Upon Martyred Sentience and presents itself as the most unnatural, abnormal, and nightmarish Impetuous Ritual offering yet.

For principal songwriter and frontman Neige, Alcest has always been a gateway to the otherworldly, a means of exploring his spirituality. An elemental two-piece, completed by long-serving drummer and creative confidante Winterhalter, their forthcoming sixth album »Spiritual Instinct« finds Neige at his most personal. “This time I had something urgent to put on the table,” he explains. “It is a very cathartic record - something needed to get out of me. It’s darker than usual, and heavier.”

The Raging Wrath Of The Easter Bunny Demo' ist eine Neuaufnahme des 1986er High School Thrash Metal Demos der Band zusammen mit Songs, die damals zwar geschrieben, jedoch nie aufgenommen wurden. Die Platte enthält auch Cover von Klassikern von S.O.D. und Corrosion Of Conformity. Vervollständigt wird die aus Originalmitgliedern Mike Patton, Trey Spruance und Trevor Dunn bestehende aktuelle Besetzung der Band von Scott Ian von Anthrax und Dave Lombardo von Slayer/Dead Cross. Aufgenommen in Dave Grohl's Studio 606 mit GRAMMY-Gewinner Husky Höskulds und gemischt von Jay Ruston, handelt es sich um die erste Veröffentlichung der Band seit 1999. Den Eingangstext zu 'Anarchy Up Your Anus' hat US-Schauspielerin Rhea Perlman (Cheers) eingesprochen.

This reissue was fully remastered in 2016.

Mean Jesus sits in the middle of seven cities on the East Coast, and a few genres. Hardcore, punk, and post punk ebb and flow throughout, with heavy tones intermingled with melodic riffs. Fast breaks give way to slow builds. The vocals cover a wide range of topics and emotions, but one thing is certain: these guys are serious about writing solid records. Mean Jesus has hit the nail on the head and erected a fine-standing metaphor for what it means to be DIY.