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Beer City is stoked to bring you Defy! The newest full length from long standing Denver, CO crossover legends Clusterfux!Clusterfux has been going strong since 1995. This is by far their best full length yet. It contains 14 songs of their potent blend of hardcore/punk and thrash metal that hearkens back to the crossover glory days of the 1980s. With relentless energy and raw sound keep them firmly rooted in the present. Clusterfux has shared the stage with and drawn inspiration from bands like D. R. I. , Beat the Bastard era EXPLOITED, FINAL CONFLICT, THE ACCUSED, AGNOSTIC FRONT, NAPALM DEATH and SUBHUMANS. Straddling the worlds of punk and metal, they have carved out a niche that appeals to both crowds. In the Beer City tradition of not cutting corners, this album was recorded, mixed and mastered in MN by the legendary Adam Tucker at Signaturetone Studios. With album art and layout by Carl Steinhagen!At the end of the day, mohawk-wearing punks and battle-denim-donning thrashers agree that Clusterfux - Defy is paramount!It's available on LP, CD and cassette! So there is something for everyone!

SHADOW KINGDOM RECORDS is proud to present POUNDER’s highly anticipated third album, Thunderforge.By now, POUNDER should require little introduction. From their humble beginnings with their debut demo in 2017 to the Faster Than Fire 7” for SHADOW KINGDOM a year later, POUNDER’s ascent was hastened by their proud 'n' powerful debut album, Uncivilized, in early 2019. In no uncertain terms, Uncivilized truly put the band on the international metal map and made ears stand to attention. Despite their collective pedigree, POUNDER's stock-in-trade showed itself as a seemingly effortless, unselfconscious conglomeration of classic metal styles - from a firm foundation of NWOBHM on to hints of early '80s speed metal, Sunset Strip flash, and AOR accessibility. Amazingly, POUNDER eclipsed that momentous first full-length with the all-guns-blazing follow-up Breaking the World in 2021. Leaner, meaner, and all-too-accurately titled, Breaking the World saw the band - vocalist/guitarist Matt Harvey, bassist Alejandro Corredor, and lead guitarist Tom Draper - getting both heavier and more anthemic, more American in their metal but also more wide-ranging in their reach. 1.Sound and Fury2.Thunderforge3.Metal Eternal4.Comin' Loose5.Line of Fire6.Get Pounded7.Deeper Than Blood8.Wet and Reckless

There is NO Light at the end of this tunnel! Brown Acid: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the Brown Acid series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that They (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! Brown Acid: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!

There is NO Light at the end of this tunnel! Brown Acid: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the Brown Acid series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that They (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! Brown Acid: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!

Storm Season emerged from a perfect storm of chaos. White Willow’s fourth studio album marked a bold shift, taking a heavier, more metallic turn compared to their earlier releases. Its creation reflected turbulence both within the band and in the world around them. The intensity of the music nearly tore apart the Norwegian prog rock pioneers, even leading to the departure of vocalist Sylvia Erichsen for several years. Yet, out of this turmoil came their breakthrough. "We wanted to create an album that felt like a storm—a reflection of the turmoil in the world with climate change and political unrest, and also within our own lives," explains guitarist and bandleader Jacob Holm-Lupo. Originally released in 2004, Storm Season became White Willow's first album to sell over 10,000 copies. It stands as one of their most direct and impactful musical statements, blending their classical prog and folk-rock roots with a heavier, more streamlined sound. This re-release, meticulously remastered by Jacob Holm-Lupo, brings new life to the album, featuring the iconic original cover art and available for the first time on vinyl. It’s the fourth in a series of six White Willow re-releases on Karisma Records. 01. Chemical Sunset02. Sally Left03. Soulburn04. Endless Science05. Insomnia06. Storm Season07. Nightside of Eden

German Pagan Metallers KROMLEK surprise the scene with the release of a monumental double album! "III - III" is coming on November 15th 2024 via Trollzorn Records on 2-CD and 2-LP.The first part, entitled "III-III", is a collection of their latest compositions created over the past decade. These tracks were carefully produced at the Antric Light Records studio and mastered in 2024. The second part, "Upphaf", offers a comprehensive retrospective of the band's history. Here, selected pieces are reworked, recorded, and produced anew to impressively document KROMLEK's musical evolution. While their last album "Finis Terræ" (2011) dealt with the end of the world in various layers of meaning and interpretation, "III-III" turns to origins and beginnings, exploring the spiritual cosmos of pre-Christian philosophy and worldview. Musically, this journey is wrapped in powerful, heavy Pagan Metal, enriched with elements from Melo Death and Black Metal.To celebrate the 20th anniversary of Trollzorn Records, the band reunited in 2023 for two selected best-of concerts before closing the chapter on KROMLEK. It is particularly noteworthy that this double album is a direct response to the long-standing demand from fans for new releases, thus honoring the patience and enthusiasm of their loyal followers.KROMLEK as usual - Pagan, but different. This is not a revival, but a legacy.The album’s opening track "Þursöld I - Gigantenwelle" has been premiered here with a lyric video: https://youtu.be/grm92sBnGOULine-up:NhévanN - Lead GuitarsForad - Rhythm GuitarsHrisDolgR - Keys & SynthT´Bog - BassSgrA - Drums "III-III"1. Þursöld I - Gigantenwelle2. Þursöld II - Seismonade3. Þursöld III - Nunatak4. Ek, Gangleri5. Totem Tales I - I tidevarvet av u6. Totem Tales II - aRktur7. Totem Tales III - AlgyR8. Strandhögg pt. IV - Ráns Schattenpass"Upphaf"1. KromleK2. Träskens Näve3. Strandhögg pt. I - Drachen im Nebel4. Strandhögg pt. II - Gefolgschaft der Gezeiten5. Herjan6. Grim Omens7. Mantikor8. Moritvrvs Immortalis

Get ready to dive headfirst into the electrifying world of HELLOWEEN with their new live album, a colossal release that immortalizes their iconic performance at Tokyo’s legendary Nippon Budokan. With 29 cameras capturing every nuance, each moment of the concert is preserved in stunning detail. This attention to detail means the DVD and Blu-ray versions offer an immersive viewing experience, making fans feel like they are right there in the front row. The setlist of this live album is a treasure trove of surprises, contains the entire 2 hour + show and offering a fresh experience compared to previous releases like "United Alive." This live album is more than just a concert recording; it's a celebration of HELLOWEEN's enduring impact on the metal scene. Dropping on December 13, 2024, through RPM, this release is available in a plethora of formats: 2-CD, 3-LP, Blu-ray, and DVD, ensuring every fan can relive the raw, unfiltered energy of HELLOWEEN in their preferred medium. A01 - Orbit (00:01:58)A02 - Skyfall (00:12:51)A03 - Eagle Fly Free (00:08:04)B04 - Mass Pollution (00:04:57)B05 - Future World (00:05:05)B06 - Power (00:04:26)B07 - Save Us (00:05:16)C08 - Kai's Medley (00:16:07)C09 - Forever And One (Neverland) (00:04:46)D10 - Best Time (00:05:04)D11 - Dr. Stein (00:05:54)D12 - How Many Tears (00:12:20)E13 - Keeper Of The Seven Keys (00:20:46)F14 - Perfect Gentleman (00:04:53)F15 - I Want Out (00:11:09)

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Power metal for eternity...Fellowship was the absolute power metal revelation of 2022; after successfully bringing their positive vibes live in Europe, Japan and America, the English band is now ready to set the bar higher. "The Skies Above Eternity” takes the classic Fellowship sound, adds a healthy sprinkle of Japanese power metal influence, and then makes a darker turn on a journey into a world where light is all but gone, and where hope is all but lost… Perhaps along the way we might find enough light within ourselves to illuminate the pathway home. A tale of princes and paupers, of oppression and resistance, of the value we get from simply looking up at the sun when times get tough, “The Skies Above Eternity” represent those human aspirations to live freely, live well and live on – no matter how hard or how bleak life may seem. 1. Hold Up Your Hearts (Again)2. Victim3. The Bitter Winds4. Dawnbreaker5. Eternity6. King Of Nothing7. World End Slowly8. A New Hope9. Memories On The Wind

We travelled in Cryosleep. But the 281 years sleep was disrupted after 185 years. Getting out of the Cryotube, we find ourselves awake in an age where nanobots have taken over: The Age of Nano. STARFORCE’s highly anticipated synthwave masterpiece, "Age of Nano”, has finally arrived on physical format, much to the delight of fans. The album immerses listeners in a vibrant 80s inspired soundscape, expertly crafted with nostalgic synthesizers and pulsating rhythms. "Age of Nano” invites you on an auditory journey through a world of colorful circuitry and futuristic visions, with each track reflecting the intricate interplay between humanity and technology. This limited edition vinyl release includes three bonus tracks, adding even more depth to this already compelling album. Experience the retro-futuristic charm of "Age of Nano”, and rediscover the magic of synthwave in a format that truly honors its legacy. Don’t miss out on this stunning album! Side A:1. Disrupted Cryonics2. Age of Nano3. Nebular Anomaly4. Battle of CharonSide B:5. Chronostasis6. On Thin Ice (bonus track)7. Apollyon (bonus track)8. Paralyzed Worlds (bonus track)

Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling.
For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape.

The Gates of Slumber return with a new album out in November on Svart Records

“I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024

Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011.

The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon.

After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic.

Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet.

The Gates of Slumber return with a new album out in November on Svart Records

“I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024

Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011.

The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon.

After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic.

Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet.