Metal 368 Items

High Roller Records, reissue 2023, black vinyl, ltd 250, gatefold, A1 poster

High Roller Records, evergreen/ white splatter vinyl, ltd 200, insert, Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2021.

Chris Spencer, the leader of Unsane, re-activates his noise rock band The Cutthroats 9 with a limited edition LP entitled Dissent on his newly-formed record label Lamb Unlimited. Following a full decade off the grid, San Francisco-based trio The Cutthroats 9 mark their proud re-invasion of the human population once again in 2014. Blending earthy bends and cool, organic harmonics into the bed of foundation-crumbling low-end swagger and massive amplification, Dissent brings The Cutthroats 9 back into the mix in massive style with seven slamming new tracks. With long-time skin-smasher WILL CARROLL (OLD GRANDDAD, DEATH ANGEL) returning to the line-up, and the addition of bassist Tony BaumeisteR (16, Aeges) joining founding guitarist/vocalist Chris Spencer (Unsane, Celan), Dissent was recorded and mixed at Louder Studios with producer Tim Green (Melvins, Bikini Kill, Dystopia, The Fucking Champs, Wolves In The Throne Room) where the band recorded their 2000-released self-titled debut LP, bringing everything full-circle fifteen years later. The LP is limited to 1,000 copies pressed on heavyweight vinyl running at 45 RPM for maximum heaviness.

High Roller Records, reissue 2023, black vinyl, ltd 150, lyric sheet

Founded in 1990 in Helsinki, Finland-based melancholic metal masters AMORPHIS wrote music history, incl. classic albums like f.e. their debut The Karelian Isthmus (1992), their breakthrough Tales From The Thousand Lakes (1994) and Eclipse (2006), their first album with the new vocalist Tomi Joutsen, which marked the beginning of a new era in the band‘s history. Regardless of their relentless touring schedule, they secretly returned to the studio to write and record their forthcoming, twelfth record with famous producer Jens Bogren (SOILWORK, KREATOR etc.) at his Fascination Street Studio in Örebro. The result of this two-month recording session is once again a heavy, melodic statement, called Under The Red Cloud . During the recordings, the sextet was joined by some famous guest musicians: Chrigel Glanzmann (ELUVEITIE) played flutes on 'The Four Wise Ones', 'Death Of A King' and 'Tree Of Ages', Martin Lopez (ex-OPETH drummer) played percussions on 'Death Of A King' and Aleah Stanbridge (TREES OF ETERNITY) sang guest vocals on 'The Four Wise Ones', 'Sacrifice' and 'White Night'. “It was a great honor to have such talented musicians appearing on Under The Red Cloud ,“ guitar player and founding member Esa Holopainen comments. “Each one of them puts his/her personality and character in the very right spot.“ The whole recording process was a time full of extremely intense work for AMORPHIS. “It was the first time, that I woke up at 08.00am to start recordings. They went on until 06.00pm in the evening - every day! But the result was definitely worth it,“ the guitarist continues. “It was a great experience and Jens made us playing more aggressive and working really hard“, drummer Jan Rechberger adds. Jens Bogren also handled the mixing and mastering of Under The Red Cloud . A perfect example for the variety and feel is the first single 'Death Of A King'.It starts with an oriental melody & crashing drums, and has a lot of dynamics.

Summoned to play it the old way in a new age, Trondheim, Norway quintet Dunbarrow draws inspiration from freezing winter nights, unpolished demo tapes from the 70s and the Swedish throwback rock from the beginning of the 21st century. The result is Norwegian proto-doom with a back-to-basics sound, from Pentagram and Witchfinder General to Quicksilver Messenger Service.

Dunbarrows clean, unadorned sound shares the unpretentious brilliance of classic heavy progenitors playing basements and bans, before the big budgets and bloated habits diluted hard rock into an echo chamber awash in reverb and layered in distant, screeching hobbits. The bands 9-track self-titled album is a classic in the sense that every song becomes instantly recognizable after just one listen.

With lyrics like the clever paean to a young witch mothers birth of Lucifers Child, Dunbarrow has a wealth of gloomy sentiments: Can you understand my young mothers plight / Away from the comforts that burn at the stake / She gave birth to a venomous snake / On her great pyre she smiled / For she carried Lucifers child.


Dunbarrow is based in the far northern Norwegian city Trondheim, but is originally from Haugesund on the west coast of Norway. The band has been playing together for over 8 years through different band names and genres. In 2014, vocalist Espen Andersen joined the band upon the departure of original singer/bassist Richard Chappell. Sondre Berge went from playing drums to playing bass. Kenneth Lnning and Eirik vregrd are still on the guitars, with Pl Gunnar Dale taking over the drums permanently in 2016. Espen Andersen recorded and mixed the debut album at Stoy Studios. Dunbarrow is hitting the studio for their second album this summer.

High Roller Records, reissue 2023

High Roller Records, reissue 2023, aqua blue/ white splatter vinyl, ltd 250, insert

High Roller Records, reissue 2023, white w/ yellow & red "fire splatter"vinyl, ltd 250, insert

Legendary Black Metal Band From Oslo, Norway, Founded By Galder (Dimmu Borgir). The Pagan Prosperity Album Was Originally Released In 1997 By Century Media. Here Is The Official Repress On Cosmic Key Creations.

Configuracao Do Lamento is a sound riot, a trance-inducing cacophony, a body-shaking mix of percussive rhythms and bending guitars. The seventh album by São Paulo, Brazil’s Deaf Kids is harmful for the weak-minded. An experimental mile marker on the band’s journey, it is as treacherous on the ears as hypnotic to the mind. Expanding the band’s D-beat origins, these eight tracks vacillate between demonic fever dreams, orgies of acidic guitars and percussive taunting. Sometimes songs are not songs anymore, but assaults which clatter and hum like rough metallic windchimes in gale force winds.

The band was formed in 2010 in the industrial city of Volta Redonda / Rio de Janeiro as a solo fuzz-soaked blend of crust / D-beat before bass and drums were added. Seven years, seven releases, two European tours, gigs across Brazil and more than one hundred shows later, the band remains steadfast on a path of sonic mind control. Their releases explore different takes on the hypnotic rhythms that comprise D-beat. When the band moved together to São Paulo, they began to blend each member’s musical and aesthetic taste with a common interest in mesmerizing grooves and psychedelic rhythms from around the globe. They now produce overwhelming, sensory-driven dirges that carry a Brazilian (and Latin American) imprint. Deaf Kids is the legitimate bastard child of colonial chaos—trapped here and there, between both complementary and opposing worldviews, trying to balance the intensity and conflicted human condition.

Hissing and Sutekh Hexen are two of the murkiest, most cacophonous groups operating in the margins of the contemporary metal underground. Now, these hellish projects come together to release a split album on The Flenser.

Since 2008, Sutekh Hexen have turned the paradigm of black metal completely on its ear. The group creates what can be described as a dense tapestry of black noise, or a wall of intricate tones deconstructing itself brick by brick. Their rich, unparalleled compositions cultivate further interest with each listen.

Founded in 2014 out of a mutual interest in deranged and punishing sounds, Seattle’s Hissing is often described as “blackened sludge.” This does little justice describing the harsh, dissonant soundscapes created by this trio. To date they have released two EPs through Disorder Recordings and Southern Lord, and have a full-length forthcoming.

San Francisco’s Succumb plumbs the depths of modern death metal with primitive elegance, but what sets them apart from their peers is vocalist Cheri Musrasrik. The juxtaposition of death metal riffing and propulsive drums with Musrasrik’s cavernous howl and sophisticated lyrics make a unique listening experience in today’s crowded landscape.

The band was formed in 2014 by a group of friends with diverse musical backgrounds who share a common love for Canadian death metal, war metal, and 1990s Napalm Death. That same year they released a demo under the name Cloak and played a handful of local shows, attracting the attention of The Flenser. The following year they were joined by Harry Cantwell (Bosse-de-Nage, ex-Slough Feg) on drums and got to work writing their self-titled debut album, recorded by Bay Area luminary Jack Shirley (Deafheaven, Bosse-de-Nage, Botanist, Oathbreaker, etc.).

Musrasrik cites authors and poets like Yeats, Genet and Zola as her primary lyrical influences. Throughout the album she tackles themes such as human experimentation, autoerotic asphyxiation, BDSM, prostitution, opium dens and dystopias with a literary flair.

Tearing down the barriers of extreme metal limitations, Code have taken a daring plunge into the unknown following their urge for further unhampered expression, and have delivered a dynamic progressive post-rock album that is sure to cause a stir.

Combines the hook-laden appeal of '70s garage rock & gritty '80s hardcore with a skate punk energy & attitude resulting in a sound the trio decribes as "psychedelic violence."