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Limited White Vinyl Edition.
Still shrink wrapped but opened.
Includes original insert.
Record is slightly warped but still enjoyable.

Red Vinyl Edition.
Still shrink wrapped but opened.
Cover with a beginning seam split at the upper edge.
Record is close to VG+.

The American Way is the second studio album by American thrash metal band Sacred Reich, released on May15, 1990 via Metal Blade Records. The video for "The American Way" was used in the 1992 film EncinoMan.The album debuted at No. 153 on September 1, 1990 on the Billboard 200 charts, lasting for nine weeks. Anenhanced remastered version released in 2009 contains pre-production demo recordings.

DEATH! The old-school way…The split 12‘‘ LP contains 3 songs from the first and only FESSUS demo Pilgrims Of Morbidity and 4 songs from KILL THE LORD, including the two titles from the Decrowned demo and two brand-new songs.KILL THE LORD - Decrowned II: Trinity Ablaze - If veterans of the German underground (HATESPAWN/FALL OF SERENITY/CHARON/IMPENDING DOOM) team up, you are in for a treat. On their first release, KILL THE LORD perform Death Metal heavily inspired by Swedish masterpieces from the 90s. With a crushing production, Decrowned II: Trinity Ablaze will leave any old-school Death Metal adherent thirsting for more. Artwork by Thomas ”Necromaniac” Westphal. Mastered by Dan Swanö at UnisoundFESSUS - Pilgrims Of Morbidity - With their first demo, Pilgrims of Morbidity, FESSUS deliver the best Death Metal any Austrian band has come up with since the glorious days of PUNGENT STENCH, MIASMA or DISASTROUS MURMUR. Period. This is rotten and morbid Death Metal at its foulest, fans of NECROPHAGIA and AUTOPSY will revel in with perverted pleasure. Vinylmaster by Patrick W. Engel at Temple of DisharmonyBlack vinyl, limited to 500. 8-page booklet, double-sided A2 poster. Incl. download-code. FESSUS:1. Acidic Secretion2. Pilgrims of Morbidity3. UnmooredKILL THE LORD:1. Kill The Lord2. Food for Worms3. Di(stress)ed4. Sacrificial Blaze

Still sealed with hype sticker. White Black marbled Limited edition.

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.