Metal 286 Items

Gold coloured vinyl.

Blue transparent vinyl.

Clear vinyl.

Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound. Waste, the band’s sophomore album and first for Riding Easy Records, is anything but. The thirty three-minute, seven-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, Nwobhm thrash, COC grunge and punk fury all rear their head at times, sometimes all at once. Though one wouldn’t be able to tell by the concise structures and well-crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy— they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended. “Improv is a huge things for us and always has been,” singer / guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.” Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar. Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album. “I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”

Cover with bumped corner

Two years after the release of their debut album, The Unlawful Assembly, British black metal trio, Dawn Ray’d return with Behold Sedition Plainsong; a call to arms and a potential catalyst for positive radical change.

Petrol transparent coloured vinyl.

Oxblood coloured vinyl. Original inner sleeve included.

Violet translucent vinyl.

Vinyl with a couple of light scuffs. Cover with bumped corner

Black Ice With Halloween Orange, Mustard And Neon Orange Splatter vinyl.

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.

(Clássicos Em Vinil) Reissue on 180 Gram vinyl by Polysom (Brazil, 2019)

Hallucinatory prog-infested bestial black/death metal horde Ch'ahom unchain absolute chaos-wielding sorcery with their debut full-length album Knots of Abhorrence, a triumphant arrival point of sorts testifying a long and transformative sonic journey started almost a decade ago, and now finally reaching its pinnacle and absolute consecration. Having started as far back as 2015 and existed for many years as a raw, bestial obscure war cult following in the steps of bands like Sadogoat, Blasphemy, Beherit, and Proclamation, in recent times Ch'ahom have been undergoing an expansive metamorphosis of their sound and songwriting, now juxtaposing a crisp and dense production quality to their primeval terrorscape, that exalts new elements incorporated from early ‘90s technical death metal in the vein of Timeghoul and Demilich, as well as from ‘70s UK prog influences derived from the band's peculiar interest in acts like Yes, Camel and Genesis. Ch'ahom's long running mesoamerican concept about pre-columbian rituals and death cults has also conversely benefitted from this recent sonic transfiguration, with their staple tribal contaminations and ornamental interludes (written and performed by the members themselves with traditional instruments) now assuming a whole new presence against the backdrop of the album's devastating scope and vision. Across it's sprawling forty-plus minutes and five dismal tracks, Knots of Abhorrence unfolds a pure masterclass of rare violence, atmosphere and intensity, carrying the listener across a gruesome wormhole and into another dimension of history's past where violence, carnage, bloodshed, magic and ritualism incarnate the sum of mankind's biggest and most ancestral fears. Those lurking in our subconscious and within the hidden cracks of our ego and which have often transmuted into madness and ravaged and derailed human society, culture and sanity and created some of the darkest and most chaotic eras of our history.

Formed by members of Encoffinate, Radioactive Vomit, Grave Infestation, Mass Grave, Temple of Abandonment, Nightfucker, Deathwinds etc., war-mongering bestial black/death metal cult Ceremonial Bloodbath re-emerge from the fetid underground of Vancouver, BC with their sophomore full-length abomination, Genesis of Malignant Entropy, an all-devouring, abyss-like monstrosity conceived from pure terror and insanity. Seemingly dwelling on a plane of atrocity entirely its own, Genesis of Malignant Entropy sees the Canadian horde once again draw its primeval life-force from the iconic legend of bands like Blasphemy, Bestial Warlust and Proclamation, but reworking it across a broader, more enigmatic canvas laced with a consciousness-obliterating amount of disassociatives and hallucinogens. Nothing less than an authentic horror of creation, this is a work in which the feral and animalistic traits of its main influences appear to be exaggerated to the point of acephalic bestiality, while a hideously deformed and surrealistic aura is achieved via pure sensorial torment and a complete deconstruction of reality. A fuming cauldron of skull-stomping neanderthalian drums, tortured howls, and on onslaught of demented, mangled guitars shrouded in destruction emerges from this unholy conception, rendering the listener nothing less than meat to be violently torn in an otherworldly primitive ritual disembodiment. The utter atrocity conceived and the strange and unorthodox ways through which such carnage was conceived will leave the listener butchered and sensorially violated in an authentic delirium of destruction.

Great copy, plays and sounds flawlessly.

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.