Metal 280 Items

A Tzompantli, in bygone days, was a rack used to display human skulls, often of enemies or sacrifices, in several Mesoamerican civilizations. In 2022, Tzompantli is a beyond crushing Death Doom war march built on a bedrock of Native / Indigenous themes, rituals and history, illuminating the splendor, brutality and despair within.

Nearly three years after the band’s self-released EP, Tzompantli’s debut full length presents the first smoke-conjured specter to manifest materially. ‘Tlazcaltiliztli’, a ritual ceremony that translates to; ‘nourishing the fire and sun with blood’, is imbued with the spirit of Native inspiration that dwells deep within the heart and soul of the project and is skillfully weaved into a traditional bludgeoning framework of spine-severing savagery and melancholic anguish. On the ritualistic ‘Eltequi’ (to cut the chest open and extract the heart as an offering) the band’s unification of native / folk instrumentation and heaviness becomes one in the same, opening vast new horizons for where this sound can go.

‘Tlazcaltiliztli’ is dedicated, and an offering, to the indigenous peoples, nations & tribes of the North, South, East & West of the American continents. It marks a fearsome and spirited new vision for the Death Metal underground.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records.

Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

The Berliners present an unusual live album that is a testimony of strange times: their Phanerozoic concept album performed live in its entirety at a time when no shows were happening anywhere in the world.
On September 25, 2020, in the middle of the global pandemic, The Ocean released their 9th studio album Phanerozoic II, the concluding episode of a conceptual trilogy that began with Precambrian 13 years before, with no end of lockdowns in sight, the band decided to thank their fans for the support with 2 streaming concerts, performing both Phanerozoic albums in their entirety.
The performance formed part of the digital edition of Roadburn Festival, aptly named Roadburn Redux. Both shows couldn't have been more different: where the first part boasts with a pompous, mesmerizing lighting production on a big stage, the 2nd part is quite the opposite: intimate, almost cosy, focused on musicianship rather than performance. A stripped down setup in a dark barn, with moody, minimal but not any less efficient lighting.
“We wanted to give people 2 totally different experiences”, says band leader Robin Staps. “In Bremen, we had the chance to record a proper Ocean live show, the way people know us. We played facing towards the front of the stage, to an invisible crowd, essentially to a huge empty room... but we knew people were watching, even if we didn't see them. There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival... maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird.”
Phanerozoic Live is a live album like no other – it is a live album that was recorded in a cultural vacuum, a bizarre time that we will remember for the rest of our lives: a time when the world as we knew it suddenly stopped spinning. It is a live album that goes without all the qualities that we usually appreciate about a live album: without the sounds of a cheering, exited crowd... but it is the very absence of this, it is the eery silence between the songs that reminds us of what we miss most, and that gives these recordings a rare intensity and power.

3D goggles are included.

“Death Rituals” is Six Feet Under's eighth studio album, and it shows king growler Chris Barnes and his men on the way back to old virtues: lead-heavy grooves, evil riffs, mean solos and obviously the unmistakable, animal-like voice of the dreadlocked frontman make for a headbanging experience of the first degree.

so-called “audiophile” records are pressed on heavy, virgin vinyl, and the experts pretty much agree:

These records truly do sound better than the standard, lightweight records of yesteryear. Plenty of jazz, classical and rock selections are available in this heavier format, and it is always recommended that you seek these out when shopping for vinyl.

PRESSED AT OPTIMAL
ON HIGH QUALITY
VIRGIN 180 G VINYL
AUDIOPHILE EDITION
LIMITED TO 1,000

Brand new album from British heavy metal flagbearers Seven Sisters!! ‘Shadow of A Falling Star Pt.1’ is the follow up to 2016’s ‘The Cauldron and the Cross’, a release which earned rave reviews and saw them tour extensively in Europe with Haunt.

One of the greatest thrash albums from the 80's. We present a true thrash classic, Hydra VEIN's sophomore masterpiece, "After the Dream"! Hydra Vein was formed in the spring of 1987 featuring ex-Deathwish members, brothers Damon and Nathan Maddison. Being hailed as the UK's answer to Slayer and receiving universally positive reviews in the metal press.

While the pandemic paralyzed the entire world and prevented bands from touring, Latin America's biggest metal export SEPULTURA refused to sit back and act like an animal trapped in a cage. Like the flowers growing out of the deceased bird’s body depicted on the stunning, colourful cover artwork by Eduardo Recife, the thrash metal pioneers from Belo Horizonte made good use of their unexpected free time to start a project that kept them busy throughout the entirety of 2020.

„»SepulQuarta« was born at the very beginning of the pandemic when everything was halted”,guitarist Andreas Kisser remembers. “We had a new album out, but we couldn’t tour for it. Therefore, we created this recurring event where we could talk with our fans around the world, play our music and exchange ideas, it was a blast! »SepulQuarta« kept us alive and strong throughout one of the most difficult times in human history.” “Doing Sepulquarta during this period allowed me to stay in contact with music. Playing my instrument was the only thing left to do in this pandemic,”adds drummer Eloy Casagrande, and indeed, music seemed to be a good way of coping with the never-ending lockdown and fear of loss and isolation that haunted people worldwide.

Obviously, the Brazilian pioneers were not the only musicians feeling this way, so they started to connect with friends and colleagues worldwide and asked them to not only be part of their weekly podcast, but also join them in playing one of SEPULTURA’s classics tracks. From the safety of their homes, international stars like David Ellefson, Scott Ian, Danko Jones, Devin Townsend, Matt Heafy and many more recorded a SEPULTURA track together with the band, which have now been mixed and mastered by Conrado Ruther for release on CD, 2LP and all streaming platforms.“We invited our amazingly talented friends to be a part of our project, either jamming with us or as a guest in the many Q&A’s we promoted,” Andreas explains.“We talked about our history, politics, sports, philosophy, depression and the environment among other things. We learned a lot with specialist guests and many of the great minds of today. Here you will find unique performances of SEPULTURA’s music from the many phases of our career, with amazing guest musicians that lent us their talent and energy to record these historical versions!”

limited to 500.

Comes with a Vinylrausch Tote Bag.

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.

On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony.

The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Monumental isn’t even a word strong enough to describe the new Epica offering »Omega«, the first collection of all-new material in five long years. On their eighth full-length, the Dutch symphonic metal titans go all cinemascope, in a stunt both effortlessly and cunningly unleashing their biggest, grandest, flashiest opus yet.

And so “the big day” is getting nearer. I am really pleased to announce that the new, seventh (!) Lunatic Soul album titled “Through Shaded Woods” is coming out on 13th November 2020. “Shaded Woods” are our worst traumas and nightmares. Going through these woods symbolises facing them. It’s a test of courage. Musically, we’re going on a journey inspired by dark Scandinavian and Slavic folk.