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Ainu is a Genoese cinematic sludge/post-doom trio established in 2021. "Ainu" is a concept record that moves between powerful and stirring soundscapes, building up at a slow but steady pace between psychedelia and post-metal, stemming from the Genoa trio’s passion for cinema and their close relationship with the sea, its stories and creatures. Featuring special appearances from Lili Refrain as well as Francesco Bucci (Ottone Pesante) and Giorgio Nattero (Carcharodon), this album is an intense, emotionally dense experience that uses the descriptive foundations of seamen and the calls of huge animals to recall the connection between the sound and the environment. An electrifying cinematic journey for the heart and soul of heavy music lovers.

American metal project Martin Simsons Destroyer OF Death release a limited edition of their debut album, 'Eternal Reign' on 180g black vinyl. With musicians such as CJ Grimmark (Narnia), Jørn Lande, Rob Rock (Impellitteri), Anders Johansson, Rex Carroll (Whitecross), Anders Köllerfors (Narnia, All For the King). Classic, melodic metal produced by CJ Grimmark, mastered by Viktor Stenqvist.

Hailing from Kristiansand, Norway, In Vain has been a pioneering force in Norwegian progressive extreme metal since 2003. Founded by guitarist Johnar Haaland and vocalist Andreas Frigstad, the band's melodic extreme metal sound, set them apart early on. In 2007, In Vain released their first full-length album, "The Latter Rain", a collaborative effort with nearly 20 guest musicians, showcasing their prowess in diverse, progressive arrangements. Subsequent albums like "Mantra" (2010) and "Ænigma" (2013) continued to push musical boundaries. "Currents", a double-edition masterpiece exploring contemporary societal shifts was then released in 2018. Declared "Album of the Year" and garnered perfect scores from various publications worldwide, including 10/10 ratings from Metal Temple (uk), Metal Only (ger), and HeavyMetal.de (ger) to name a few. With a rich history of live performances, including European tours with Solefald, Borknagar, Vreid and Keep of Kalessin. In Vain remains a powerhouse in extreme metal, captivating audiences with their dynamic compositions, and their reputation as a force in progressive extreme metal is firmly established. The band's ability to seamlessly blend progressive drive, playfulness, touching vocals, and metallic hardness sets them apart, as attested by reviews such as “In Vain proves once again that they are masters of their art...” - Cultur Addict (fr). In Vain stands as a testament to the enduring innovation within progressive metal, shaping the future of the genre. Their upcoming album “Solemn” is set to release April 19th 2024. "Solemn" is showcasing exceptional musicianship across the board, and further elevating the experience with a resplendent, organic production, masterfully honed to perfection by Jens Bogren (Opeth, Dimmu Borgir, Katatonia, Devin Townsend, Kreator, etc).

Blue/Green marbled and Brown/White marbled vinyl.

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

Hailing from Kristiansand, Norway, In Vain has been a pioneering force in Norwegian progressive extreme metal since 2003. Founded by guitarist Johnar Haaland and vocalist Andreas Frigstad, the band's melodic extreme metal sound, set them apart early on. In 2007, In Vain released their first full-length album, "The Latter Rain", a collaborative effort with nearly 20 guest musicians, showcasing their prowess in diverse, progressive arrangements. Subsequent albums like "Mantra" (2010) and "Ænigma" (2013) continued to push musical boundaries. "Currents", a double-edition masterpiece exploring contemporary societal shifts was then released in 2018. Declared "Album of the Year" and garnered perfect scores from various publications worldwide, including 10/10 ratings from Metal Temple (uk), Metal Only (ger), and HeavyMetal.de (ger) to name a few. With a rich history of live performances, including European tours with Solefald, Borknagar, Vreid and Keep of Kalessin. In Vain remains a powerhouse in extreme metal, captivating audiences with their dynamic compositions, and their reputation as a force in progressive extreme metal is firmly established. The band's ability to seamlessly blend progressive drive, playfulness, touching vocals, and metallic hardness sets them apart, as attested by reviews such as “In Vain proves once again that they are masters of their art...” - Cultur Addict (fr). In Vain stands as a testament to the enduring innovation within progressive metal, shaping the future of the genre. Their upcoming album “Solemn” is set to release April 19th 2024. "Solemn" is showcasing exceptional musicianship across the board, and further elevating the experience with a resplendent, organic production, masterfully honed to perfection by Jens Bogren (Opeth, Dimmu Borgir, Katatonia, Devin Townsend, Kreator, etc).

Der Reprint von IN FLAMES "Battles" erscheint als silberne Doppel-LP. Limitiert auf 500 Exemplare!

Der Reprint von IN FLAMES "Battles" erscheint als türkisfarbene Doppel-LP. Limitiert auf 1000 Exemplare!

Cover with a bit of seam damage on top spine.

“I wanted to play guitar since I was born, basically,” proffers Matt Pike when asked about the formative years of his musical maturation. The iconic guitarist of High on Fire and Sleep seemingly came into the world with inherent talent

From reverent youth to Grammy-winning riff-wielder, Pike has always housed a boundless enthusiasm for the six-string and the stupendous sounds that – in the right hands – the instrument can produce.

“Trapped in A Midcave” was the first song we wrote. It’s kind of like “God of Thunder”. I tried to make my vocals mimic a David Lee Roth-type melody. Then I thought, “Who should I play the solo like?”, so I studied a bunch of Michael Schenker solos and then put a Michael Schenker solo that’s like four minutes long on it. It’s such a good riff. Soon after, it felt like ‘I want to record this, this shit’s really good,’” Pike admits.

The Automaton, in Greek mythology, is the big robot that’s the guardian of the Gods, basically. It’s a soulless, big machine named Talos. The big machine that’s working against mankind at this moment. In ‘Jason and the Argonauts’, Jason and the Argonauts have to battle this big machine guy that protects the island. Basically, what the album title is saying, metaphorically, is ‘Pike against the World.’”

“I made a psychedelic rock record that Sleep and High on Fire fans would like,” Pike says when asked for a CliffsNotes description of ‘Pike vs. the Automaton’. “And maybe if you’re not a Sleep or High on Fire fan, you might like it too. I definitely think it’s interesting; it has D-Beat punk, two-step. It’s got everything and it still works together, it doesn’t sound odd. It’s just an off-the-wall psychedelic rock record.”

“I wanted to play guitar since I was born, basically,” proffers Matt Pike when asked about the formative years of his musical maturation. The iconic guitarist of High on Fire and Sleep seemingly came into the world with inherent talent

From reverent youth to Grammy-winning riff-wielder, Pike has always housed a boundless enthusiasm for the six-string and the stupendous sounds that – in the right hands – the instrument can produce.

“Trapped in A Midcave” was the first song we wrote. It’s kind of like “God of Thunder”. I tried to make my vocals mimic a David Lee Roth-type melody. Then I thought, “Who should I play the solo like?”, so I studied a bunch of Michael Schenker solos and then put a Michael Schenker solo that’s like four minutes long on it. It’s such a good riff. Soon after, it felt like ‘I want to record this, this shit’s really good,’” Pike admits.

The Automaton, in Greek mythology, is the big robot that’s the guardian of the Gods, basically. It’s a soulless, big machine named Talos. The big machine that’s working against mankind at this moment. In ‘Jason and the Argonauts’, Jason and the Argonauts have to battle this big machine guy that protects the island. Basically, what the album title is saying, metaphorically, is ‘Pike against the World.’”

“I made a psychedelic rock record that Sleep and High on Fire fans would like,” Pike says when asked for a CliffsNotes description of ‘Pike vs. the Automaton’. “And maybe if you’re not a Sleep or High on Fire fan, you might like it too. I definitely think it’s interesting; it has D-Beat punk, two-step. It’s got everything and it still works together, it doesn’t sound odd. It’s just an off-the-wall psychedelic rock record.”

“I wanted to play guitar since I was born, basically,” proffers Matt Pike when asked about the formative years of his musical maturation. The iconic guitarist of High on Fire and Sleep seemingly came into the world with inherent talent

From reverent youth to Grammy-winning riff-wielder, Pike has always housed a boundless enthusiasm for the six-string and the stupendous sounds that – in the right hands – the instrument can produce.

“Trapped in A Midcave” was the first song we wrote. It’s kind of like “God of Thunder”. I tried to make my vocals mimic a David Lee Roth-type melody. Then I thought, “Who should I play the solo like?”, so I studied a bunch of Michael Schenker solos and then put a Michael Schenker solo that’s like four minutes long on it. It’s such a good riff. Soon after, it felt like ‘I want to record this, this shit’s really good,’” Pike admits.

The Automaton, in Greek mythology, is the big robot that’s the guardian of the Gods, basically. It’s a soulless, big machine named Talos. The big machine that’s working against mankind at this moment. In ‘Jason and the Argonauts’, Jason and the Argonauts have to battle this big machine guy that protects the island. Basically, what the album title is saying, metaphorically, is ‘Pike against the World.’”

“I made a psychedelic rock record that Sleep and High on Fire fans would like,” Pike says when asked for a CliffsNotes description of ‘Pike vs. the Automaton’. “And maybe if you’re not a Sleep or High on Fire fan, you might like it too. I definitely think it’s interesting; it has D-Beat punk, two-step. It’s got everything and it still works together, it doesn’t sound odd. It’s just an off-the-wall psychedelic rock record.”

“I wanted to play guitar since I was born, basically,” proffers Matt Pike when asked about the formative years of his musical maturation. The iconic guitarist of High on Fire and Sleep seemingly came into the world with inherent talent

From reverent youth to Grammy-winning riff-wielder, Pike has always housed a boundless enthusiasm for the six-string and the stupendous sounds that – in the right hands – the instrument can produce.

“Trapped in A Midcave” was the first song we wrote. It’s kind of like “God of Thunder”. I tried to make my vocals mimic a David Lee Roth-type melody. Then I thought, “Who should I play the solo like?”, so I studied a bunch of Michael Schenker solos and then put a Michael Schenker solo that’s like four minutes long on it. It’s such a good riff. Soon after, it felt like ‘I want to record this, this shit’s really good,’” Pike admits.

The Automaton, in Greek mythology, is the big robot that’s the guardian of the Gods, basically. It’s a soulless, big machine named Talos. The big machine that’s working against mankind at this moment. In ‘Jason and the Argonauts’, Jason and the Argonauts have to battle this big machine guy that protects the island. Basically, what the album title is saying, metaphorically, is ‘Pike against the World.’”

“I made a psychedelic rock record that Sleep and High on Fire fans would like,” Pike says when asked for a CliffsNotes description of ‘Pike vs. the Automaton’. “And maybe if you’re not a Sleep or High on Fire fan, you might like it too. I definitely think it’s interesting; it has D-Beat punk, two-step. It’s got everything and it still works together, it doesn’t sound odd. It’s just an off-the-wall psychedelic rock record.”

Mixed Vinyl. Cover with slightly bumped corner

Norwegian underground legends Purified in Blood dropped some long-awaited new music online in 2022 with their gut wrenching and explosive tracks Krater and Myrå. Purified in Blood’s aggressive and unique take on metal has ripped through the scene since 2003, influencing several of contemporary metal and punk acts. Their raw and uncompromising sound, blending furious guitar riffs with driving rhythms and powerful and menacing vocals, paired with their assailing and dominant live shows, put them in class of their own. The result is fierce extreme metal, mixing the best of thrash, hard metal and death metal into their own unique sound. The band was instantly renowned for their brutal live performances, which in course would send them on extensive tours worldwide with gigs in cities like Seattle and New Delhi and have had them play the same events as icons in Slayer, Mastodon, Gojira, Madball and Meshuggah.

For over ten years French cinematic post- rockers Lost IN Kiev have been creating massive, narrative-driven atmospheric rock opuses that have brought them to play on renowned festivals like Dunk!festival and AMFest, as well as on tours with acts like Enslaved or Maserati. After three years of pandemic-induced inertia, the four gentlemen from Paris return with their new record Rupture which sees them turn the page to a new chapter in their considerable career. Being recorded in a live-setting, Rupture concerns the band's feelings about the drastic environmental changes that can be perceived all over the world. Casting their eco-angst into nine soaring and explorative tracks, Lost IN Kiev channel a sound that's raw and pristine, reaching an emotive power beyond anything they have done before. What sets Lost IN Kiev apart from their peers is not only the perfection of their produced sound but also their composition and musicianship_on Rupture their experience oozes through the cracks. With Rupture, Lost IN Kiev have delivered another tour de force that surpasses their previous outings in many ways. Every song is pure melancholic ecstasy and rapture, while it also sees the band tread new ground. Going through various layers of dynamic composition, these nine tracks easily suck you into the band's much needed narrative in which they lay bare their concerns and their anxieties. Rupture sees Lost IN Kiev at their most raw and authentic, and in a time where climate concerns need to be put back on the agenda, the album is a much needed experience: a gripping portrait of mankind's deteriorating relationship with its planet, this record will resonate with many fans of instrumental rock, both aesthetically and emotionally.

Mit Heir Corpse One präsentiert Multi-Shredder/Sänger Rogga Johansson Johansson (u.a. Paganizer, Stygian Dark, Massacre, Blood Gut, Dead Sun, Megascavenger, Ribspreader, Putrevore, Revolting) eines seiner neuesten Projekte. Es ist eine Zusammenarbeit mit Freunden aus der schwedischen Death Metal Szene. Mit dabei sind: Kjetil Lynghaug (Mordenial, Paganizer), Peter Svensson (Furnace Moon) and Marcus Rosenkvist (Assasins Blade, Void Moon).

If you’re looking for a band that embody everything hardcore punk should be, then you’re looking for Birds in Row. Sonically, they’re fearless. Lyrically, they’re as poetic as they are recusant. And live, they’re a ruthless force, matching the power of their music with boundless, must-see energy. After debut album You, Me & the Violence sparked listeners’ imaginations, 2018 follow-up We Already Lost the World was an unyielding inferno of brazen ideas. Metal Hammer UK called it “intelligent, poignant art,” writing that “this downward spiral changes pace and weight at every turn.” It screamed for mutual respect in a world of increasingly extreme political divides, and used the vehicles of punk, post-hardcore and post-metal to carry its cries. Now comes Gris Klein. Birds in Row’s third full-length album is their most genre-bending and timely declaration yet. “Water Wings” opens, its scraping guitar strums a ticking clock, counting down to the inevitable barrage of hardcore to follow. “Noah” revs up over its six gargantuan minutes. Its singing slowly spirals into apoplectic screeches. “Trompe l’oeil” is half folk, half punk, and “Winter Yet” has no qualms about busting out seismic metal guitars at its climax. It’s an amorphous beast of an album: always unpredictable, but never out of character for this creative collective. Gris Klein’s lyrics were sculpted by the Covid-19 pandemic, eloquently summarizing the cruel and sometimes nonsensical nature of mental illness. “Trompe l’oeil”, for example, sings, “Most of the times I feel lonely are when my friends are around.” “This is the exact moment where you should feel like you’re surrounded by people you love and you’re not alone,” the band add. “It asks, ‘If I can’t feel loved in this specific moment, then when can I feel that?’” Gris Klein is a portrait of a world enduring its most chaotic era in a generation. Yet throughout, the Birds in Row manifesto is the same as it’s always been: love each other. “We really want people to know that they’re not alone, and that they can count on each other,” they say. “The way we treat each other is political. It’s OK to trust each other. All the movies about catastrophes show people turning against each other, but that’s not what would happen. When people are in the shit, they help each other. That’s what we’re trying to transmit with this record: hold each other’s hands.” Not even a world-shaking pandemic could damage Birds in Row’s invention, compassion and brutality. Now three albums in, they remain the model portrait of punk. – Matt Mills, May 2022