Metal 259 Items

High Roller Records, reissue 2023, red/ grey mixed w/ black splatter vinyl, ltd 400, 425gsm heavy cardboard cover, 2 inserts, poster, A5 photo card, mastered for vinyl by Patrick W. Engel at Temple of Disharmony. Cutting by SST Germany on Neumann machines for optimal quality on all levels...

Following their recent addition to the Prosthetic Records roster, multinational cybergrind quartet Thotcrime are set to release their sophomore full length, titled D1g1t4l_dr1ft. With members hailing from Champaign-Urbana, IL, Philadelphia, PA and Nottingham, UK Thotcrime’s prolific output to date has seen the band generate a buzz in online music communities and garner praise from Bandcamp Daily in the publication’s profile on the burgeoning cybergrind movement at large.

American blackened electro-industrial Act 6TH Circle is back with new LP The Idle Construct, another masterful forty-minute crucible of insurgent post-industrial darkness laced with haunting atmospheres and seismic, disorienting beats. Officially licensed from Sonic Groove Records, The Idle Construct is 6th Circle's most tenebrous and atmospheric release to date, seeing its first ever proper release on a physical format worldwide via Sentient Ruin as a limited edition black vinyl pressing, after its initial and so far digital-only release in 2021. The Idle Construct sees 6th Circle further evolve and deconstruct its dark sonic canvas, pushing its foreboding atmospheres and anachronistic grooves deeper into lightless realms, and taking the listener further into a dark future dystopia of bitter disillusionment and grim alienation. The dark flame of defining acts like Skinny Puppy, Front Line Assembly, and :Wumpscut:, burns more vigorously than ever within these ten caustic tracks of industrial insurrection, but what defines 6th Circle's unrivaled approach to the craft is not so much its masterful evocation of an unrivaled past glory, rather the fearless exploration of its still unaccomplished and uncharted possibilities in the

An Autumn For Crippled Children create compositions within the post-black metal genrethat are incredibly fascinating, if not groundbreaking going to such extremes in fusing blackmetal with bright New Wave and shoegaze melodies.

White vinyl w/ pink splatter, limited to 500 copies.New Orleans death grind/hardcore group BRAT are the latest addition to the Prosthetic Records roster. Formed in 2021, BRAT deals out blastbeats, bass-laden breakdowns and old school death metal and New York hardcore inspired riffs. Through the melding of their influences the four-piece's sound stands out from the more sludge orientated sounds that the Crescent City is known for, catching the attention of the Los Angeles label in the process. Speaking on the singing announcement, BRAT comments: "We're thrilled to be part of a label that's put out so many quintessential metal albums of the last 25 years. It's an honor to have the opportunity to contribute to that list. Let's rock.""Upon completion of our record we felt Social Grace, the title track, really encompassed a broad snapshot stylistically of the album at large. The song is an environmental commentary on the effects of the wealthy on the state of our planet and further ties to the greater theme of our album that explores the various plights of mankind. In tandem with the single is our music video that draws inspiration from classic murder mysteries and depicts the ugly realities behind the pomp and circumstance of the aristocracy."BRAT's self described yassified look shirks more traditional metal imagery in favor of a pink-pilled Y2K aesthetic, with plenty of nods to their favorite femme pop icons. As the band sets their sights on making strides in the heavy metal and hardcore world, BRAT's end goal is to "put bimboviolence and barbiegrind on the map".Through a consistent live presence that includes touring alongside NOLA legends EYEHATEGOD, Ringworm, labelmates ACxDC, fellow grindsters in No/Mas and contemporaries in Maul and Morbid Visions, BRAT has garnered praise from the likes of Revolver, Metal Injection, Metal Sucks and many more as a new band to watch.

Swiss firebrand alchemists Zeal & Ardor are excited to announce forthcoming, self-titled new album!

Hissing and seeping justifiable rage from every pore - yet not an unrelenting musical battering - the 14-track opus was recorded by Marc Obrist and Manuel Gagneux at Hutch Sounds and mixed and mastered by Will Putney at Graphic Nature Audio. All songs were written by the softly spoken, multilingual frontman Gagneux, with some German lyrics intermixed with the English. Gagneux declares, “With the self-titled record, we have arrived at where I imagined this project should sound like. It’s the longest we’ve worked on a single record and I believe it shows. The most important thing for an album of ours to do, is transport you instantly into our mood, our world. Even though this might not be the one you might expect from us, this record certainly delivers on that front. We had time to hone in to what we think makes us interesting and what sounds we would like to explore through this we have found our home. Home is burning. Welcome home.”

The true gods of the stoner underground music, The Melvins, released their album Stoner Witch in 1994. The album is one of their most successful efforts and an album where their musical capacities can be heard in the depth, powerful and experimental sound.

Seminal, Grammy-nominated, genre-bending metal band Periphery returns with their first new music in 4 years.

Wildfire, the first single, is rife with snarling riffs, thick groove, and a sing-along, sweeping chorus. The band will be touring with Underoath in March around the album release.

Extensive marketing push includes worldwide press campaigns, multiple music videos, metal radio push, and outreach via the band's millions of social media followers.

The debut self-titled album by emerging East Coast chaos-mongering warnoise terrorists Sulfuric Hatred (formed by vocalist Alexander Jones of Undeath, guitarist / bassist Liam McMahon of Vile Ritual, and Sam Shereck of Stabbed, Exsanguinated, Bowel Erosion, Blame God, ex-Pink Mass, ex-Reeking Aura etc.) brings a new meaning and purpose to the concept of dehumanizing music and of its forced transmutation into a weapon. Bringing the listener to their knees to surrender, succumb and dissolve before the omnipotency and immensity of absolute armageddon, across its eleven tracks and thirty four minutes of musical terrorism, Sulfuric Hatred experiment on human senses the limits and effects of complete audial insanity. Black metal, grindcore, and death metal in this context can be used as nothing more than simplistic references for the sake of generalization, as the actual and true fabric really materializing this abomination is something that can hardly be associated to music and which is actually closer to pure noise, to other forms of experimental sensorial warfare or to abstract idealizations of pure terror. An underlying contradiction that can not be overlooked defines this senseless display of audial savagery: where in most bands and subgenera of extreme music an antihuman aspect is sought out musically, in the case of Sulfuric Hatred, the formula of bass, guitar, drums and vocals is actually the last human thing standing. The incessant carpet-bombing blasting, the ear-splitting screams, and the mangled, chaotic guitar carnage, in the chaos-torn world of Sulfuric Hatred are nothing but the last shred of humanity left. Everything else being engulfed and devoured in this blown out, noise-broken abomination, is the embodiment of absolute, abstract, and conceptual antihuman bedlam.

Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style.

Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records.

Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it.

Up the hammers, down the nails! Originally released in 2008, this classic doom metal debut album of Lord Vicar features powerful and mournful songs about survival, regret, love, and sacrificial duty. The unmistakable melancholy of this band is underlined by the acoustic passages of ’The Funeral Pyre’ that enhance the groovy and crushing riffs that otherwise alternate throughout the album. This music must have been uplifted from some kind of personal hell, but there is much pleasure in the way it was delivered. As a bonus for this re-release, you have the partly remixed and fully remastered first EP of the band, originally released as a 7” in 2008 by I Hate Records. The Demon of Freedom took its subject matter from the novel The Wolf’s Bride, by Finnish author Aino Kallas.

We each have our own idea of what it means to live through a period filled with perpetual dread, a slowly burning world, and overwhelming darkness. In the case of Portrayal of Guilt, their tortuous afterlife comes with grief, loss, masochism, suffering, and pain. On Christfucker, their second full-length of 2021, Portrayal of Guilt plunges headfirst into unfathomable depths, creating a work of art that's powerfully unsettling. "We think of it partially in the sense of scoring a horror movie," guitarist/vocalist Matt King says. "We wanted to create an atmosphere of anxiety and fear." The entirety of Christfucker is set to unrelenting, nihilistic, howling soundscapes, created by King, drummer James Beveridge, and bassist, Alex Stanfield. Each track tells a story set in the darkest of settings for the listener to interpret and explore. *Beginning with the ominous "The Sixth Circle," which features King shrieking over hypnotic guitar patterns and a thudding rhythm, the band eventually roars to life with a tyrannical blast, delving you further into its oppressive heaviness. On "Bed of Ash," the band plumb new depths while exploring the mechanistic gnashings of industrial drum and bass. On "_where the suffering never ends," churning, gruesome instrumentals provide the backdrop to a tale of brutal demise. Recorded at Strange Weather and Circular Ruin studios in Brooklyn with Ben Greenberg, Christfucker features guest vocals from Jenna Rose of New York darkwave outfit Anatomy (on "Sadist") and Touché Amoré vocalist Jeremy Bolm (on "Fall From Grace"). Started in 2017, Portrayal of Guilt have released two full-length albums, two EPs, four splits & a digital single. They've toured the world relentlessly since their inception, playing with bands such as Deafheaven, Pg.99, Touché Amoré, Soft Kill and many more...

Depressive Age's early years in the late '80s (known as Blackout) were quite hard, even for rock & roll's toughest standards. The East German group made a daring escape across the border in 1987, but lead singer Jan Lubitzki was caught and went in jail for a year, before joining his bandmates, guitarists Jochen Klemp and Jingo Grigoleit, bassist Tim Schallenberg, and drummer Norbert Drescher, in the West. In 1992, the progressive metal ensemble released their debut, amazing album, "First Depression", followed in 1993 by "Lying in Wait" and in 1994 by "Symbols for the Blue Times", all on G.U.N. label. Especially last album moved more into original and audacious sound. Before their las recording "Electric Scum" (1996 – G.U.N.) guitarist Grigoleit left the band. Then, sadly, they shortenend their name to D-Age and slowly disappeared. Available again on vinyl and on Cd formats, previous prints sold out since years and hard to find nowadays.

"Promised Land" is the fifth studio album by the American heavy metal band Queensrÿche and their highest charting record to date. It was released by EMI on 18 October 1994, four years after their successful "Empire" album. The songs on this album are tied together firmly by the theme of success and how to deal with it, and reflections on American society and how that shapes our goals in life. In July 2014, Guitar World ranked Promised Land at number 23 in their "Superunknown: 50 Iconic Albums That Defined 1994" list.