Search "dave+aju+heirlooms" 77 Items

Mix blistering Thrash Metal, early 90's Death Metal and the sinister atmosphere of Black Metal and it's clear to see (and hear) that the debut album of Sweden's Age Of Dystopia is a must-have.

After the wildly abhorrent existence of the band’s 2018 demo, Autophagy returns with the imminent debut album “Bacteriophage”, a series of ear-assault sonics drowned in befouled Death Metal bliss!

Come 2022, Autophagy reeks of an utter flesh-consuming monstrosity like a well-oiled machine. While absolutely subterranean in nature, “Bacteriophage” also lurks deep into sewage-rotten riffs morphing in perfect syncopation with the unabating fury of the drums like a merciless blitz-storm. Bleak and putrefying undertones are apparent all over the record, where the influence and dynamics of Doom are seeping in.

Engaging the adept and capable engineering prowess of Charlie Koryn (Funebrarum, Ascended Dead, ex-Skeletal Remains, etc) at Toadhouse Studios, also coming onboard for engineering and mixing duties is the illustrious producer Billy Anderson (Sleep, Neurosis, Eyehategod, Pallbearer, Bell Witch, etc) at Everything HZ. Mastered by Dave Otero at Flatline Audio (Cephalic Carnage, Khemmis, Cattle Decapitation, etc). Artwork by Marcio Blasphemator (Hellripper, Diabolical Force, Whipstriker, etc).

Blood Red with Black Splatter Vinyl, limited to 500 copies.Beloved Ghouls super group consists of Chuck Billy of Testament, Dave Lombardo of Slayer, Gary Holt of Slayer and Exodus, and Gregory Coates. "Shocked!" and "Terrorized" were released as Halloween Singles in 2020 and 2021 and now see their physical outing back to back on limited 7" splatter vinyl.Produced by the legendary Ross Robinson (Korn, Glassjaw, The Blood Brothers, Slipknot, Dead Chaos), "Shocked!" also features writing by Casey Chaos of Amen. "Terrorized" also features Derrick Green of Sepultura on vocals, with Jeremy Bolm of Touche Amore on additional vocals.

RSD First, Limitation: 1250

“Mata leao” means “lion killer” in Portuguese, an appropriate title for this beast of an album, Biohazard’s first as a trio. In this case less is more; with a sound blending so many ingredients (hardcore, rap, metal), the increased focus brought on by the streamlined line-up just hardens the tip of the jackhammer.
Produced by Dave Jerden of Jane’s Addiction and Alice in Chains fame, this 1996 release sees its first US issue on vinyl, complete with printed inner sleeve.
Tan vinyl pressing limited to 2000 copies worldwide.

Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups. Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display. This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group.

Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023.

Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups. Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display. This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group.

Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023.

Freak Winter was recorded live in London on December 23rd 2010, as part of Cathedral’s 20th Anniversary concert. It features a setlist of favourites performed to mark the dark celebration of their illustrious career up to that point. The double album comes housed in a gatefold sleeve, featuring exclusive artwork by long-time Cathedral collaborator and acclaimed artist, Dave Patchett.

Return to the Forest was recorded live in London on December 23rd 2010, as part of Cathedral’s 20th Anniversary concert. For this event, the original line-up that recorded the milestone 1991 Doom Metal album, Forest of Equilibrium, re-united for a one-off performance of the album. It was the one and only time this album has been performed live in its entirety, which was thankfully recorded onto multitrack and mixed by Jaime Gomez Arellano. The double album comes housed in a gatefold sleeve, featuring exclusive artwork by long-time Cathedral collaborator and acclaimed artist, Dave Patchett.

New supergroup that consists of guitarist Mike Crain (Retox), bassist Justin Pearson (The Locust, Head Wound City and Retox), drummer Dave Lombardo (ex-Slayer and Fantômas) and vocalist Mike Patton (Faith No More and Fantômas).

Still sealed. 2020 reissue.

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

Science and religion; facts and faith".... The brainchild of Spanish multi-instrumentalist CG Santos (also of Like Drone Razors Through Flesh Sphere and Teitanblood), Emanation is a disembodied auditory reflection on various cryptic ruminations surrounding science, faith, belief, and their many ramifications within human consciousness. One of the most mutant and defiant black metal entities to emerge in the last decade, the now dormant and always elusive project reached the pinnacle of its deconstructed and aberrant expression with 2011's one-hour and eleven minute long masterpiece and heirloom of total sensorial dissolution The Emanation of Begotten Chaos from God, now seeing the light for the first time ever on vinyl format to coincide with and celebrate the 10th anniversary of its conceivement. The glorious double album incarnates via Sentient Ruin and France's Cavsas label (a subdivision of Cyclic Law) through a carefully crafted high end double LP edition envisioned with maniacal care by the artist and both labels to enshrine the work in its ultimate and most timeless physical incarnation yet.

Recorded at his Baltimore-based studio, The Magpie Cage, between 2021

and 2022 with the assistance of John Haggerty (Naked Raygun / Pegboy) (guitar) , Brooks Harlan (Jawbox / Office Of Future Plans (bass), Darren Zentek (Kerosene 454 / Office Of Future Plans) (drums) , Gordon Withers (cello and guitar) and Dave Hadley (pedal steel).

On vinyl for the first time. Re-issue of American death metal band, Jungle Rot's second album from 1997 'Slaughter the Weak' on Clear vinyl! Jungle Rot - American death metal band from Kenosha, Wisconsin, formed in 1992 originally as a side project by Jim Harte and Joe Thomas, members of the Illinois thrash metal act, Prisoner. They acquired Kenosha-based guitarist Dave Matrise (Num Skull, Nocturnal, Fatal Violence) in 1993 and in 1994 when Matrise took over the band got serious and started to take off.

On vinyl for the first time. Re-issue of American death metal band, Jungle Rot's 2006 release 'Warzone' marking the first album to feature the now current Jungle Rot core of Matrise, Genenz, and Bub on RED vinyl! Jungle Rot - American death metal band from Kenosha, Wisconsin, formed in 1992 originally as a side project by Jim Harte and Joe Thomas, members of the Illinois thrash metal act, Prisoner they acquired Kenosha-based guitarist Dave Matrise (Num Skull, Nocturnal, Fatal Violence) in 1993 and in 1994 when Matrise took over the band got serious and started to take off.

No rock 'n' roll record has felt this mysterious and free-spirited in years. R.I.P. channels Jorge Ben's late-night, alcohol-soaked vibes (heard on 1970's Fôrça Bruta) and the rambling country-blues of Bob Dylan's Nashville Skyline. - NPR

And just like that he did it again, vanished. At this point Krano is an expert in the art of disappearing, after the dust settles he retreats, fades away into the hills behind Valdobbiadene and shuts down communication. It took four years to rescue from the vaults ‘Requiescat In Plavem’, Krano’s 2016 country-psychedelic masterpiece, a Venetian songbook for the Piave river shrouded in mystery and wonder that turned heads across the music circuits. Seven years later he’s back with ‘Lentius Profundius Suavius’ an incredible collection of songs about loss, solitude, death, darkness (Profundius) and sweetness, devotion and friendship (Suavius). Absolutely aching with soul, these ten songs channel rollicking twang, cosmic electric americana, honky-tonk mystics, noir gothic and fuzzed out spiritual rock’n’roll. As some would say, only the good sh*t, a masterclass in songcraft and true loner folk.

Who knows how, but ‘Lentius Profundius Suavius’ was vaguely inspired by the work of Italian peace activist Alexander Langer, a forgotten hero that relentlessly worked on eliminating ethnic boundaries and fostered ‘togetherness’ and true values of solidarity and ecological renaissance. “Slower rather than faster, deeper rather than higher and gently rather than hard” was Langer’s motto and fittingly is the reason behind the album’s title.

Krano’s music runs free, transcends barriers, a distillation of broken dreams tinted in black and white, where having the blues is not just a feeling but something you can’t shake, a wayfaring outsider on a journey side by side with players like Bill Fay, Robbie Basho, Skip Spence, Dave Bixby, inevitably bound to burn in eternity.

“Damn if there isn’t some mystical appeal at work in these songs.” - Aquarium Drunkard

"Hypermagic Mountain is Lightning Bolt's fourth, most well-oiled album: song-by-song it chugs into rockier Van Halen, Fucking Champs, or Orthrelm territory." - Pitchfork
Hypermagic Mountain, Lightning Bolt's 4th album has been unavailable for nearly a decade since it's 2005 release. Back as a double LP including a full drawing by Brian Chippendale as the D side Etching! The package includes a large scale 4-page book (previous pressings included a cd size book). Recorded at Machines with Magnets and Lightning Bolt's home by Dave Auchenbach. Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.
They are often called one of the loudest rock outfits in existence, both on record and on (or famously, off) the stage. Brian Gibson creates sounds that are unexpected and remarkably varied with his virtuosic bass playing and his inventive approach to the instrument, centered around melody rather than rhythm. The dizzying fury of Brian Chippendale's drums twist from primal patterns into disorienting break beats as his distorted, and echoing vocals weave more melody into the mayhem.
"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." -LA Times

"Hypermagic Mountain is Lightning Bolt's fourth, most well-oiled album: song-by-song it chugs into rockier Van Halen, Fucking Champs, or Orthrelm territory." - Pitchfork
Hypermagic Mountain, Lightning Bolt's 4th album has been unavailable for nearly a decade since it's 2005 release. Back as a double LP including a full drawing by Brian Chippendale as the D side Etching! The package includes a large scale 4-page book (previous pressings included a cd size book). Recorded at Machines with Magnets and Lightning Bolt's home by Dave Auchenbach. Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.
They are often called one of the loudest rock outfits in existence, both on record and on (or famously, off) the stage. Brian Gibson creates sounds that are unexpected and remarkably varied with his virtuosic bass playing and his inventive approach to the instrument, centered around melody rather than rhythm. The dizzying fury of Brian Chippendale's drums twist from primal patterns into disorienting break beats as his distorted, and echoing vocals weave more melody into the mayhem.
"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." -LA Times

Mean Jesus sits in the middle of seven cities on the East Coast, and a few genres. Hardcore, punk, and post punk ebb and flow throughout, with heavy tones intermingled with melodic riffs. Fast breaks give way to slow builds. The vocals cover a wide range of topics and emotions, but one thing is certain: these guys are serious about writing solid records. Mean Jesus has hit the nail on the head and erected a fine-standing metaphor for what it means to be DIY.

Megadeth is one of the “big four” of American thrash metal, along with Slayer, Anthrax and Metallica. The latter being the band frontman Dave Mustainewas kicked out of in 1983 before starting his own group that was “faster and heavier than Metallica”. It wasn’t long before Megadeth released platinum selling album after platinum selling album, popularizing the metal genre and gathering a huge following. This is still one of the most popular metal bands in the world, here on their first headlining global tour back in 1987.

A Better Dystopia, die neue Platte von MONSTER MAGNET, lädt den Hörer direkt in die Gedankenwelt der Psychedelic-Rock Legende Dave Wyndorf ein und überzeugt mit einer psychotischen Auswahl aus Proto-Metal und späten Psych Songs, die breitbeinigem Hardrock mehr als nur Tribut zollen. Die exzellente und gleichermaßen obskure Songauswahl huldigt einigen bekannten All-Time-Favorites in neuem MONSTER MAGNET Gewandt und lässt vertraute Melodien neuen Spirit atmen. Das erste Cover-Album markiert eine weitere absolute Glanzleistung der Band und präsentiert Wyndorf’s Stimmkraft, die den Songs einen zweifelsohne, unnachahmlichen Stempel verleiht, in absoluter Höchstform,. Das Sound-Korsett von A Better Dystopia wurde von den Musikern Phil Caivano, Bob Pantela, Garrett Sweeney und Alec Morton geschnürt: Ein Feuer aus Vintage und Old School, brennenden Fuzz-Leads und stampfenden Bässen und Drums, ausgelöst durch den expressiven Stil der Formation, der in der modernen Musik fast verloren gegangen ist. Im Album Opener "The Diamond Mine" rezitiert Dave Wyndorf einen klassischen Monolog Dave Diamonds' - einem amerikanischen Radio-DJ, dessen Sendungen in den späten 60ern und frühen 70er Jahren vielen Psychedelic- und Acid-Rock-Bands zu steigender Bekanntheit verholfen haben.Mit den Anfangsakkorden das Hawkind-Klassikers “Born To Go” beginnt der eigentliche Trip der MONSTER MAGNET Platte. Tracks, wie das herausragende “Mr Destroyer” (Poo-Bah) rühmen sich durch wabernde Riffs und wirbelnde Vocal-Parts und führen mit beinah visionärer Wirkkraft die perfekte Mischung aus Hard Rock und Psychedelic herbei. Das fiebrig klingende “Motorcycle (Straight To Hell)” (Table Scraps) atmet die pure Punk Wildheit der alten Schule und Zeilen wie "I'm gonna drive it straight to HELL!" erinnern an eine stilistische Kreuzung aus Iggy Pop und Motörhead. Die tosende Version des Hardrock Klassikers “Learning To Die” (Dust) und die ausdrucksstarke Interpretation des Stooges-trifft-auf-Goth-Epos “Solid Gold Hell” (The Scientists) ziehen den Hörer vollends in die Tiefen des flackendernden Kaninchenbaus. Das Album schließt mit der explosiven Coverversion von Morgens “Welcome To The Void”, die in bissig und gleichermaßen ungezwungenere Manier dazu einlädt, die halluzinogene Fahrt immer wieder neu zu starten. Mit A Better Dystopia lassen MONSTER MAGNET den Hörer in einer anderen Zeit und einem anderen Raum erwachen, der trotzdessen eindeutig den klassifizierenden Magneten-Stempel an jeder Ecke widerspiegelt.

Morbikon is the creative effort of Phil “Landphil” Hall exploring the dark corners of extreme music. Guided by the second wave of Black Metal and Melodic Death Metal scenes of 1990s Scandinavia he crafted the bands sound. He then recruited his Municipal Waste bandmate, Dave Witte to handle the drums and reached out all the way to Finland for vocalist Matthias "Vieth" Lillmåns of Finntroll. The studio efforts result in a euphony of blackened and evil extreme metal.

Mondo Generator, formed by Nick Oliveri (Queens of the Stone Age, Dwarves, Bl’ast, Kyuss, etc.), released their first album, Cocaine Rodeo, in 2000 and never looked back through a whirlwind of intense punk, speed metal and heavy rock.

Across four studio full-lengths and more tours than one could count,Mondo Generator has never been anything less than completely in your face, so that even Oliveri‘s acoustic work arrives dripping with attitude.

Mondo Generator compile tracks from their albums and numerous EPs into an aptly-titled Best Of. The collection will span the career of the band, with guest appearances throughout from Josh Homme, Dave Catching, Dave Grohl, Alain Johannes, John Garcia,Brant Bjork, Alfredo Hernandez, Mark Lanegan, Chris Goss and many more.

Clear Vinyl.More than two decades deep, and preparing to release their eighth studio album, PSYCROPTIC are in fine fettle. The follow up to 2018's As The Kingdom Drowns is on the horizon, and Divine Council sees the Australian band ready to push theircreative boundaries in new ways as part of their ethos to always keep things fresh - both for themselves and their listeners.Brothers Dave Haley (drums) and Joe Haley (guitar), have steered PSYCROPTIC through different shades of death metal, from the technical to the experimental.Longtime vocalist and lyricist Jason Peppiatt and bassist Todd Stern have further embellished the sound of the band, helping to create something that is distinctively PSYCROPTIC even as it evolves. Their years on the road performingwith the likes of Archspire, Misery Index, Nile and Dismember not only helped refine their sound, it opened them up to a wider network of potential collaborators that has truly borne fruit on Divine Council.

Hailing from Hungary and proudly performing in their mother tongue, ROTHADAS made their public debut in 2019 with a self-titled demo tape for ME SACO UN OJO. A two-song work totaling 16 minutes, Rothadás suggested - and strongly - that the selfsame band had a staunchly ancient-minded vision of death metal but by no means were blinkered by the past. Perhaps this unique dichotomy is down to ROTHADAS being a self-contained duo of vocalist/drummer Lambert Lédeczy and guitarist/bassist Tibor Hanyi - both men equally prolific veterans of the underground, and both concurrently playing in labelmates CRYPTWORM among others. Now, at last do the duo unveil their debut album, Kopár hant... az alvilág felé. Here, ROTHADAS erect an eerily shimmering monument of slimy, oftdoomy DEATH METAL: for maniacs, by maniacs, young and old and everyone in between. Armed with an absolutely crushing production, the band's first full-length betrays an eternal wisdom by maximizing the basics as well as nodding to various eras and locales of death metal but only subtly - immersion rather than extraction, and addition by subtraction, tastefully so in both regards. As each of these five lumbering/lunging hulks of dread-inducing sound effortlessly morph into myriad shapes, each one as ghastly and grotesque as the last, it slowly begins to dawn on the listener than Kopár hant... az alvilág felé retains a runtime of 44 minutes: truly, an experience that is EPIC - as ever, tastefully and subtly so - rather "epic" in shameless overstatement. Further, ROTHADAS' native Hungarian helps lend another sublime layer of the unique to what is arguably the year's best dark-horse death metal recording...recognize or regret!

Traditional Heavy Metal from New York City, in the vein of early Iron Maiden, Riot, Saxon, Judas Priest and the New Wave of British Heavy Metal. Forged in New York City, 2018 Anno Satanas, Shadowland journeys beyond the chaos portal, sailing through the seas of time to conjure the spirits of the New Wave of British Heavy Metal ancients. Shadowland's debut full-length entitled “The Necromancer’s Castle”, contains eight weird and fantastical tales set to sounds of old school heavy metal thunder and cover art by Tanya Finder."Tanya’s vocals echo both the gothic wails of Coven or Wooden Stake and the snarl of Di’Anno-era Maiden, while the moments of chugging riffage and thundering drums show off the band’s appreciation for gritty punk and hardcore. That, coupled with Tanya’s Stygian album art, makes Shadowland more than your average vest-metal act." - Kerrang! Magazine Labelled by one astute chronicler as possessing the looks of Sacrilege and the sounds of Judas Priest, Shadowland are: Tanya Finder - Vox, Jeff Filmer - Guitar, Al Bulmer - Guitar, Cedric Obando - Bass, Dave Hawk – Drums. 1. Ligeia2. The Necromancer's Castle3. Walking In Shadows4. Rising Tide5. Warhound6. Remains7. Easy Livin'8. Pretty Faces

After the pure magic and fire of the Into the Nightmare precursor demo tape, we're thrilled to bring you its full-scale successor and evolution: the unrivaled debut album by Chilean heavy metal cult Shadows. Packing in 30 minutes of legendary songwriting and visionary revivalism Out for Blood take us back to a time, somewhere in the early '80s, when acts like Mercyful Fate, Satan, Death SS, Judas Priest, and Alice Cooper were laying the unforgettable foundations of what would soon become a generational, industry-changing phenomenon: the defining of heavy metal as we know it. A raging and undying fire of searing leads, thundering drums, spooky operatic vocals, ripping guitars, unforgettable hooks and outrageous transgression. With no hesitation or limits to its deathless imagination, Shadows has conceived a classic metal crucible of unparalleled wizardry and dominance, using familiar concepts borrowed from dark b-movies, old comic strips, occultism and esotericism to take the listener down a dark, left-hand path of cinematic storytelling, thrilling fantasy, dark impulses and transgressive paranoia. The ten tracks of Out for Blood display a breadth of tricks and expertise rarely seen at such an accomplished level in contemporary Nwothm and classic metal acts, and this should come as no surprise knowing that Shadows mastermind and main songwriter John Shades (a pseudonym of Cristian Silva of Apostasy fame), has been shaping the pillars of true and untamed underground South American heavy metal for at least three decades. Using a mist of dark, keyboard-laden atmospheres, vorticose melodies and a dominating, dual attack of criss-crossing, blazing razor-sharp solos, Shades and his co-conspirators have unfolded a half-hour of absolute, boundless imagination, covering almost fifty years of heavy metal evolution and transformation, and delving deep into the primordial fabric of the genre's most defining traits, those of technical extremism, frantic intensity, and adrenaline-pumping darkness. A full-frontal assault on the senses where the limitless imagination of epic storytelling and of rare musicianship have converged in creating the ultimate homage, heirloom and celebration to the undying, sacred and eternal flame of heavy metal.

From the moment you hit play, a lurking sense of dread washes over the body like some all-consuming Lovecraftian terror from the murkiest depths. This feeling lingers long past the ending of the album. This is the kind of death metal that utilizes bold technicality, but stays fearsome and dark in a twisted display of old school might that doesn't rip off the originators, but honours them with super performances from the entire band. A varied and busy drum performance gives a ruthless backbone to storms of violent, otherworldly riffing and sepulchral vocal grit that functions as a unit to obliterate all in the pathway of this ferocious Danish death metal machine. Sulphurous already has a stellar album, a couple of EPs and a few demos under their belt which all showcase supreme quality. Here we see that taken even further, so fans can be rest assured that their beloved merchants of morbidity have elevated to even greater heights while newcomers to this band will be smitten by the sheer excellence of their craftsmanship and musical abilities. Cacophonous atmospheres and eldritch tendrils pull you into this marvelously eerie record and biting, scathing musicianship will hold the attentiveness of all listeners as the murk clears, showcasing a whole new realm of horrors lurking behind the veil. Gaze into "The Black Mouth of Sepulchre." See for yourself what lies beneath and hear the undying sounds of the underworld spewing through into a waking nightmare of pure death metal ecstasy.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. Ltd Solid White Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Limited edition solid-silver vinyl!A raw, sweaty and unforgettable authorized live bootleg from the originators of American Doom Metal in its first incarnations.Led by Wino, the godfather of American Doom Metal, The Obsessed is one of the important bands in the history and evolution of the style. For the band's 40th anniversary in 2020, we proudly present an authorized live bootleg of Wino's favorite show the original lineup ever played. As Wino says, "It's raw and noisy and took some cleanin'up, but here it is. If it ain't heavy, it ain't shit!!!"Tracks 1-9 Recorded Live at the Big Dipper, Beltsville MD, April 29/30, 1983 - Line up Wino: Guitar, Dave 'the Slave' Flood: Drums, Mark 'Professor Dark' Laue: BassTracks 10-13 Recorded and engineered by Chris Kozlowski, 1985 -Line up Wino: Guitar, Ed Gulli: Drums, Mark Laue: Bass- Wino's new solo album and the upcoming Obsessed Record Store Day release make this a big year for their music- A raw authorized bootleg live recording of Wino's favorite show ever with the original Obsessed lineup- A must-have for collectors and fans of the band and the style in conjunction with the band's 40th anniversaryPress Quotes:'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera)'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity)History, Part 1:The Obsessed are a doom metal band originating from Potomac, Maryland. Active initially from 1978 - 1986 and then from 1990 - 1995, they re notable for being Wino's first major band and an iconic outfit in the Maryland doom metal scene and the early doom metal s...

if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal Vol. 2 maintains a steady Nwobhm course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. Some examples include: As a late entry into the Nwobhm sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, one can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (rip), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine Nwobhm- and Edgar Allan Poe-influenced flipside to “Time Heals Everything.”

Here’s just a few of the gems on Brown Acid - The Fourteenth Trip, the much beloved series that is the Nuggets of proto-metal, pre-stoner rock: The Legends’ “Fever Games” is a 1969 fever dream of heavy psych on par with Blue Cheer at their heaviest, featuring an incredible intro with whammy-bar gymnastics through an Echoplex. This Harrisburg, PA power trio, featuring Dan Hartman (Edgar Winter Group, et al) and his brother Dave, also name-checks Jimi Hendrix Experience in the midst of the song’s most blatant Hendrix rip. Perhaps that’s how Fever Games work? Transfer’s velvet smooth groove has an almost proto-punk feel like a mashup of the Velvet Underground and The Flamin’ Groovies. But the lyrics referencing tokin’ reefer and the twanging surf lead situate them closer to their heavy rock brethren. This very rare 1974 self- released 45 is this lone archive of the band’s existence—assume they just kept right on playin’ it cool into oblivion. Cox’s Army deploy the grungy rocker “I’m Tired” which sounds like if Jimi Hendrix fronted Mudhoney. Yes, please! Though they hailed from Aurora, IL, it sounds like there’s definitely some Pacific Northwest in their blood. Particularly in the gritty production, which hints at The Sonics’ “bustin’ outta lo-fi” style. Not much is known about the enigmatic Columbus, OH musician known as Raven, whose “Back to Ohio Blues” closes this edition. The mantra-like droning riff of this eight-minute jam is a Black To Comm-style epic, driven by Raven’s hostile, no-bullshit diatribe until it all busts open for an insane two-minute long drum solo soaked in odd effects that sounds like it was copped from a Melvins album.

Vanguard is a metallic hardcore band based out of Houston, TX; formed during the Covid-19 quarantine of 2020. Vanguard is unapologetically a vegan-leftist band, and actively supports and promotes a host of critical social and political causes, both lyrically and through the direct action and activism of its members. The band is ideologically tied to the animal liberation movement, endorses socialistpolitical theory, is vehemently anti-fascist, and believes and fights for the political, legal, educational, and economic equality of all people, regardless of race, gender, orientation, or class. Their message and sound come exploding out of the gates with a style that nods to the storied militance and aggression of metallic hardcore from decades past, while injecting the sound with their own unique modern ferocity and urgency.

Industrial black metal/noise/grind nightmare Vessel of Iniquity is back with its third official full-length album, a rogue abomination set to blow yet another smoldering wound into the fabric of consciousness via unconceivable deconstructions of reality and through a deviant approach to music creation aimed at harnessing absolute terror and mimicking the final stages of sanity. Introducing eight-string guitars for the first time ever, on The Path Unseen sole mastermind A. White has made a stylistic and sonic shift aimed at rendering his beast an even more lethal and oppressive force than ever before. The switch to eight strings has given the project abyss-like traits, as a death-bearing payload of low end frequencies and bottom end crush-depth of near-inescapable traits is added into the mix rendering the project essentially irreversibly damaging. The unrelenting outreach and research for the most weaponized and exaggerated forms of aural annihilation conceivable are now ever so evident in the project as Vessel of Iniquity morphs once again, release after release, seeking new ways to dissolve reality and suck the life out of its surroundings with black hole-like constructs of inescapable and all-devouring terror, which also showcase with unmistakeable evidence the fiercely experimental and constantly evolving nature of the project. Aside from the outlandish experiments in inconceivable fretwork annihilation, the catastrophic work is completed by its staple assault of carpet bombing drum machines, tectonic noise constructs and monstrous industrial abstractions that all play their unforgiving role in assembling this obliterating sonic nightmare of the underground which is becoming more and more the embodiment of pure fear and terror and an increasingly recognizable heirloom to the endless quest for the absolute extreme.