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Emerging once more from the endlessly creative genius of Toby Driver, Alora Crucible presents its latest offering, Oak Lace Apparition, brought to you via House of Mythology. This otherworldly creation further elevates the artistic journey begun in 2021 with the stunning Thymiamatascension, which explored space, silence, texture, and the mysterious charm of the night.This exclusive vinyl release comes as a DLP featuring two 180-gram vinyl discs, encased in a robust 350gsm gatefold sleeve. Each record is protected in black poly-lined disco bags and carefully packaged outside the sleeve to prevent seam splits, all secured within a protective plastic sleeve for optimum preservation. Through the mist, a peak of icy water; where can I find you, pelagian bird?Amidst Ewdendrift a CorridorCenote VacíoMooncast Antlers Into ShadowAestiformUnseen Ending in the Grass AboveSpindle's WhorlI Destination

Special situations call for special measures: Under the flag of this motto, Lamb OF GOD delivered two of the most impressive livestreams of 2020's last autumn. On Friday, September 18th, 2020, the groove giants from Virginia presented their new self-titled album in full length to their dedicated fans worldwide – directly and live from their own studio in Richmond, the creative home of Lamb OF GOD. With a stunning live performance in an unusually intimate setting, the Americans managed to ban the demons of the current situation and transfer the gripping energy of their live concerts to a digital space. This concert was now immortalized as a live release: "Lamb Of God - Live In Richmond, VA" captures one of the most important metal bands of the 21st century with all their fighting spirit and enthusiasm. This release is more than a live album: It is an important testimonial of the willpower of Lamb OF GOD facing the most difficult odds that Blythe and Co ever were confronted with.

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.

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)

CHAOS A.D.: EXPANDED EDITION includes a newly remastered version of the original album along with 17 bonus tracks. Among the highlights are a cover of Black Sabbath’s “Symptom Of The Universe” that was originally issued as a B-side, plus nine scorching live versions of album tracks like “Territory” and “Biotech Is Godzilla.” Also featured are several unreleased instrumental tracks that the band used during rehearsals for “Clenched Fist” and “Propaganda.” Three years after Chaos A.D., the band returned with Roots, an album that was deeply influenced by Brazilian rhythms, which were incorporated into tracks like “Itsári” and “Ratamahatta.” Since its release in 1996, the album has sold more than two million copies worldwide.

Vacivus is one of the UK’s most promising new death metal bands, following two recent EPs, Rite Of Ascension and the Nuclear Chaos 7-inch, and consistently bludgeoning the scene with their live shows. They play dark brutal metal influenced by classic old school U.S. bands, but still find their place within today’s echelon, exemplified by bands such as Dead Congregation, Blood Incantation, Grave Miasma, Cruciamentum, Phrenelith etc.

The new full-length Temple Of The Abyss shows immense musical growth since the band’s initial inception in 2013. It captures the essential elements: the unrelenting brutality, a dark brooding atmosphere, infectious riffs and guitar shredding—all with a backbone laid down by a solid rhythm section, making it a death metal wonder to behold.

This album is arguably the most important one in Johan Edlund’s career. The mixture works quite well and is served on a near track-by-track basis with “Church of Tiamat” remaining on melancholic territory, a possible leftover from the “Wildhoney” recording sessions, a heavy atmospheric ballad which is sidestepped by “Brighter than the Sun”, the vintage gothic rocker, a major qualifier for the Sisters’ “Vision Thing” with the memorable sing-along chorus, the bouncy rhythms, and the brilliant female back vocals. A huge twist this one, it ushers the album into an entirely new realm but Edlund feels quite confident there, adding the dark sinister “As Long as You Are Mine”, the excellent balladic keyboard-infused hipster “Dust Is Our Fare”, and the very interesting individualistic, sombre cover of The Rolling Stones’ “Sympathy for the Devil” to match this new gloomier but by no means more pessimistic vision. This album comes out in deluxe gatefold edition, in two colors (Gold / Red) 500 limited edition each.

15 years after the album"s release, City of Echoes is now available in a deluxe 2xLP edition, newly remastered by Josh Bonati and featuring a full LP-worth of bonus material, including original album demos, alternate takes, and pieces originally only available on the rare Pink Mammoth EP. City of Echoes, originally released in 2007 by Hydra Head Records, marked a paradigm shift for Pelican. Coming off the heels of the glacial Australasia and their even more expansive and acclaimed follow-up, The Fire In Our Throats Will Beckon The Thaw, their third album is a study in precision. Inspired by their non-stop tour schedule following The Fire"s release, the quartet composed City of Echoes to be a lean powerhouse of non-stop melodic hooks and lurching rhythms that reflected the energy of live performance. With City of Echoes, Pelican defied expectations and set themselves apart from the single-minded thrum of retreading old ground. The more concise pieces trade breadth and rumination for a distinct clarity and a razor"s edge for hook-driven songcraft. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec trade crisp riffs that twirl in opposition before thundering together in monoliths. The sheer amount of potent interplay between the two, often borrowing from disparate edges of rock and metal at a whim before completely transforming, is mind-boggling. Bassist Bryan Herweg and rhythm section compatriot/drummer/brother Larry Herweg lock into a wider array of grooves than ever before. Their considered bedrock guide the band"s dynamics into some of the ensemble"s most tender moments as well as their most ferocious. City of Echoes stands as a testament to Pelican"s ability to reconfigure the grandeur and force of their sound without ever repeating themselves.

15 years after the album"s release, City of Echoes is now available in a deluxe 2xLP edition, newly remastered by Josh Bonati and featuring a full LP-worth of bonus material, including original album demos, alternate takes, and pieces originally only available on the rare Pink Mammoth EP. City of Echoes, originally released in 2007 by Hydra Head Records, marked a paradigm shift for Pelican. Coming off the heels of the glacial Australasia and their even more expansive and acclaimed follow-up, The Fire In Our Throats Will Beckon The Thaw, their third album is a study in precision. Inspired by their non-stop tour schedule following The Fire"s release, the quartet composed City of Echoes to be a lean powerhouse of non-stop melodic hooks and lurching rhythms that reflected the energy of live performance. With City of Echoes, Pelican defied expectations and set themselves apart from the single-minded thrum of retreading old ground. The more concise pieces trade breadth and rumination for a distinct clarity and a razor"s edge for hook-driven songcraft. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec trade crisp riffs that twirl in opposition before thundering together in monoliths. The sheer amount of potent interplay between the two, often borrowing from disparate edges of rock and metal at a whim before completely transforming, is mind-boggling. Bassist Bryan Herweg and rhythm section compatriot/drummer/brother Larry Herweg lock into a wider array of grooves than ever before. Their considered bedrock guide the band"s dynamics into some of the ensemble"s most tender moments as well as their most ferocious. City of Echoes stands as a testament to Pelican"s ability to reconfigure the grandeur and force of their sound without ever repeating themselves.

One Day You Will Ache Like I Ache is the first collaborative release from The Body and Full of Hell. Through their own respective recordings, both The Body and Full of Hell are internationally-revered as forward-thinking entities of harsh music, delivering their audio torment through incredibly intense and often unorthodox methods. The Body's 2010-released All The Waters Of The Earth Turn To Blood sophomore LP stands among the band's high points and remains on of the most groundbreaking and frightening albums in recent times. Their subsequent releases, including several LPs and more have continued to expand upon this seminal release. Similarly, Full of Hell rapidly became a favorite amongst hardcore, grind, death and noise metal fans upon their formation with an incredibly energetic and destructive live attack. Their 2013-released Rudiments Of Mutilation sophomore LP solidified them as one of the most damaging new acts going, and since its detonation, the band's intensity and hunger for experimentation continues to magnify. Both acts are proven collaborators, relishing the results of collective efforts to create life-numbing constellations of distortion and depravity. The two members of The Body have joined forces with arcane producer The Haxan Cloak (Bobby Krlic) for the I Shall Die Here long player, Louisiana's darkest sludge troupe Thou for You, Whom I Have Always Hated, as well as Nothing Passes with Braveyoung and a myriad of splits with artists as divers and detesting as Australia's Whitehorse, Japan's Vampillia, Rhode Island's Sandworm, and New Jersey's Krieg taking their virulent, insidious influence to unsuspecting destinations both stateside and abroad. Full of Hell made a huge impression on the ears of fans and those previously unfamiliar with the band with 2014's two-part alliance with internationally feared noisemonger Merzbow, which resulted in the Full of Hell & Merzbow LP and the subsequent Sister Fawn EP. Their discography is littered with noise sodden demos and splits that wrench Full of Hell in to fresh dimensions of heaviness and extremity, and their constant live actions never cease to stun.

Two years after their sophomore "Cosmic Terror", Germany's THE Spirit once again delve into the vast nothingness of the universe, while capturing the fear of the unknown and humanity’s insignificance within our cosmos in their sound. On their upcoming third offering, "Of Clarity and Galactic Structures", the duo, consisting of Matthias Trautes (vocals, guitars, bass) and Manuel Steitz (drums), hold on to their black/death metal roots yet take the progressive elements to a whole new level. Whilst the predecessor from 2019 already contained some prog elements, the brain twisting rhythm changes and virtuosic instrumental performance became an essential part of the band's universe. Once again recorded and mixed at the Woodshed Studio, Germany by V. Santura (with the drums being tracked at Iguana Studios by Christoph Brandes), THE Spirit’s lyrics usually mix a general misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe, where none of our daily struggles and vanities ever matter. To distance oneself from this attitude and see the bigger picture can often lead to new clarity, and this thought inspired the album title.

We each have our own idea of what it means to live through a period filled with perpetual dread, a slowly burning world, and overwhelming darkness. In the case of Portrayal of Guilt, their tortuous afterlife comes with grief, loss, masochism, suffering, and pain. On Christfucker, their second full-length of 2021, Portrayal of Guilt plunges headfirst into unfathomable depths, creating a work of art that's powerfully unsettling. "We think of it partially in the sense of scoring a horror movie," guitarist/vocalist Matt King says. "We wanted to create an atmosphere of anxiety and fear." The entirety of Christfucker is set to unrelenting, nihilistic, howling soundscapes, created by King, drummer James Beveridge, and bassist, Alex Stanfield. Each track tells a story set in the darkest of settings for the listener to interpret and explore. *Beginning with the ominous "The Sixth Circle," which features King shrieking over hypnotic guitar patterns and a thudding rhythm, the band eventually roars to life with a tyrannical blast, delving you further into its oppressive heaviness. On "Bed of Ash," the band plumb new depths while exploring the mechanistic gnashings of industrial drum and bass. On "_where the suffering never ends," churning, gruesome instrumentals provide the backdrop to a tale of brutal demise. Recorded at Strange Weather and Circular Ruin studios in Brooklyn with Ben Greenberg, Christfucker features guest vocals from Jenna Rose of New York darkwave outfit Anatomy (on "Sadist") and Touché Amoré vocalist Jeremy Bolm (on "Fall From Grace"). Started in 2017, Portrayal of Guilt have released two full-length albums, two EPs, four splits & a digital single. They've toured the world relentlessly since their inception, playing with bands such as Deafheaven, Pg.99, Touché Amoré, Soft Kill and many more...

If you’re a fan of any kind of ’70s heavy rock – Southern Boogie, New Wave of British Heavy Metal, MC5/Stooges Detroit Punk, Junk Shop Glam or straight-up Classic Rock – we are willing to bet Ian Blurton’s Future Now has something for you. If you’re the kind of person who might geek out on the vintage gear used to record that music, we’ll double down on that wager. A mainstay in the Canadian scene since the ’80s, Ian Blurton may have come along after hard rock’s heyday, but he has parlayed his love of the era’s musical sensibilities into a career as both a musician (Change of Heart, C’mon, Public Animal) and a producer (Cursed, Tricky Woo, Weakerthans, Cauldron). For the follow up to his acclaimed solo debut, 2019’s Signals Through the Flames, he is pulling out all the stops, sourcing the best of the best for all elements. Formed to tour Signals, Future Now features some of the top talents heard on that record: drummer Glenn Milchem (Blue Rodeo) and bassist Anna Ruddick (City and Colour). To complement the powerhouse rhythm section, and recreate live the Wishbone Ash/Judas Priest–inspired harmonies that define the album, Aaron Goldstein is drafted for second guitar. In tandem with planning the Signals dates, Blurton was accepted as an Artist in Residence at Studio Bell, home of the National Music Centre, in Calgary. The residency presented an opportunity to pack up the band – hot from a string of live shows – and head west to track a follow up album with the country’s most enviable collection of musical equipment. Second Skin was recorded using the famed Rolling Stones Mobile studio that Mick, Keef, and Co. used to make Sticky Fingers and Exile on Main Street. The unit was also loaned out for Led Zeppelin III and IV, and Deep Purple’s Machine Head, before eventually landing at the NMC. Combining the RSM with the institution’s selection of rare guitars formerly owned by Randy Bachman, amps from Neil Young, and an array of vintage gear borrowed from Calgary friends, Future Now had the ingredients for a dream session. Throw in an early ‘80s Mellotron, and the band had all it needed to cook up a crushing collection of sludgy riff-driven rockers and Prog epics, all with clean vocals, thunderous bass/double-kick, and the kind of guitar solos you wish you could play.

Portland’s Dark Power Metal band Silver Talon's full-length debut “Decadence and Decay” is the band's follow-up to their 2018 EP, “Becoming A Demon”, and showcases the thrilling combination of heavy metal hooks and guitar-driven virtuosity that has driven the band since their formation in 2017. With a virtuosic guitar attack, a rumbling rhythm section and powerful vocals, Silver Talon was birthed after rising from the ashes of the disbanded Portland metal group, Spellcaster (Prosthetic Records). Guitarist Bryce VanHoosen joined forces with fellow ex-Spellcaster member Sebastian Silva – who now handles additional guitar duties in Silver Talon and also plays in goth-rockers Unto Others (formerly Idle Hands) – in a shared mission to keep the heavy metal flame burning brightly. Bolstered by the soaring vocal attack of Wyatt Howell (Sanctifyre), Silver Talon began 2018 by unveiling two demo tracks, “Devil Machine” and “Warrior's End,” which showcased the group's ability to create fist-clenching, head-banging heavy metal through a combination of masterful hooks, lush melody and technical dexterity. Silver Talon faced the challenges of 2020 by staying focused and productive. Their efforts culminated in the recording of “Decay and Decadence.”. The first single, “Deceiver, I Am”, was released in December 2020, and showcased the evolution of the group's creative vision and dark power metal sound. All three guitarists are utilized to show off arrangements that are deeper and more three-dimensional than their previous work.

Over the course of two decades The Body, Lee Buford and Chip King, have consistently challenged assumptions and defied categorization, redefining what it means to be a heavy band. On I've Seen All I Need To See, they test the boundaries of the studio to explore the extremes and microtonality of distortion to find its maximal impact. Their most incisively bleak, a towering monolith of noise, album to date Buford's booming, resolute drums paired with King's obliterated guitar and howl. Course, bristling distortion contorts every instrument, with samples of spoken word, cymbals, toms and King's already noxious tone emerging from layers of feedback. The recording studio remains indelible to The Body's creative process. Together with engineer Seth Manchester of Machines With Magnets, they capture the complexities of distorted sound in stunning detail. The clarity and the cacophony exceed anything they've created before, morphing desolate, festering soundscapes into an exhilarating sonic universe. Buford often lays the framework for songs from the drums up, mirroring hip hop production. I've Seen All I Need To See trades out 808s and The Body's self- sampling for live instruments with a focus on expanding mutations of sound from more limited sources. The results are remarkably rich textural bombardments. Throughout, The Body deliver oppressive noise with potent lucidity, replicating the overwhelming sound of their live performances in revelatory detail. I've Seen All I Need To See demonstrates not only The Body's fearless spirit and vicious edge, but their intellectual musical heft through its explorations of distorted sound and the power of distorted sounds' interplay. Composer Roger Johnson said "Noise is power, but is generally represented as negative, chaotic, dangerous, violent, when it comes... from those marginalized from power. Noise is also an expression of freedom, a 'liberation of sound.'" The Body are sound liberators capable of mining and extracting remarkable details from the most manipulated and distorted sound sources. I've Seen All I Need To See is a groundbreaking work and an ecstatic listen, whether seen as a testament to catharsis in oblivion, an opus of inexorable dread or a wholly liberating adventure.

In the late 80s, King's X had just launched their now-iconic Sam Taylor-produced debut album Out of the Silent Planet (1988), ushering in what would soon become known as the "Houston sound." This sound was a unique blend of progressive metal, groove, rock, and rich harmonies. Around the same time, another band began making waves: The Awful Truth. They had recorded their debut album for mainstream Metal Blade Records but sadly broke up before it even came out. By the time the album was released in 1989, two-thirds of The Awful Truth had formed a new band with two other members, the now-legendary Galactic Cowboys, further defining that groovy-metallic Houston Sound. Although signed to the infamous Metal Blade Records (known for releasing albums by Slayer, Fates Warning, Voivod, etc.), The Awful Truth's eponymous album featured poetic lyrics expressing a sincere faith. A key example is "Ghost of Heaven": High above the highest star Songs of You the angels sing Only You could fill my heart Only You could bring me where You are Ghost of Heaven, hear my plea Holy voice, won't you speak to me? Most of the material was written by David von Ohlerking and is adventurous, though more in a traditional progressive context, not foreshadowing the unpredictable style of the Galactic Cowboys. The one track with shared writing credits is Drowning Man, where you can definitely hear the chugging riffs and rhythms that would characterize Monty Colvin and Alan Doss' next project. The distinctive guitar sound, overdriven/mid-rangey bass tones, and oblique Christian imagery in the lyrics are reminiscent of the first four King's X records, but The Awful Truth ventures into heavier and more progressive territory. The epic Should Have Known All Along might even be mistaken for a lost King's X song, especially with the way Ohlerking's vocals break at the end, sounding very Dug Pinnick-like. The end result is a stone-cold classic in every way. The 2024 Brutal Planet Records reissue has been completely remastered by Rob Colwell (Nevermore, Flotsam & Jetsam, King's X, Poundhound, Voivod, etc.) and it sounds better than ever! Collector's are treated to Orange Crush Heavy-weight Vinyl and a 12x12 full color lyrics insert featuring band photos. This limited edition of just 300 Vinyl units is a must-have. Grab this slab of progressive hard rock brilliance while you can!

When R.I.P. came crawling out of the sewers of Portland, OR four years ago, their grimy, sleazy street doom was already a fully formed monstrosity that quickly infected the minds of everyone it encountered. At the time, no one expected its depravity to take such fierce hold, and yet, here it is, sheltering in place and / or stealthily creeping through a nightmare dystopia that the ’80s sci-fi / horror movies foretold. Dead End is, ironically, a recharge of the band’s sound, bearing influences ranging from John Carpenter films, post-apocalyptic grunge, pro-wrestling attitude and salty lo-fi hip-hop aesthetics, to the band’s ferocious heavy metal. During the three years since the 2017 release of their sophomore album Street Reaper, R.I.P. has been busy tightening their sound and their line up while loosening their grip on sanity—touring the west coast with bands like Electric Wizard and Red Fang, and taking street doom overseas for the first time for a month-long headlining tour of Europe. These years on the road and the addition of a more aggressive rhythm section have allowed the band to fully break free from their influences and deliver on the promise hinted at on their first two releases. For Dead End, R.I.P. worked with legendary producer Billy Anderson, interring onto wax their heaviest and most ambitious album yet. Continuing to move further away from their classic doom influences like Pentagram and Saint Vitus, the band offers a rare blast of originality in a scene rife with formulaic bands. Dead End is a fast and anxious ride where the very idea of doom is put to the test under duress of manic lyrics about death, insanity, and leather, and hook-laden guitar tracks that draw as equally from Nirvana as Black Sabbath.

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023

Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go.



From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel.



Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets.



Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now:

Ville Pystynen - guitar, bass

Nicholas Leptos - vocals

Ville Markkanen - drums

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023

Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go.



From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel.



Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets.



Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now:

Ville Pystynen - guitar, bass

Nicholas Leptos - vocals

Ville Markkanen - drums

Pelican and Thrill Jockey are proud to present a deluxe edition of the band’s acclaimed 2005 album: The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered, and featuring special bonus rarities including an early version of “Red Ran Amber,” (previously only available on a split with Mono) and demos of “Autumn Into Summer,” “Last Day of Winter” and “Sirius” The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican’s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands that have risen to prominence since its release. The genre-busting nature of the album’s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album’s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album’s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band’s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican’s distinct sound as a unified force.

Sightless Pit is the project of duo Lee Buford (The Body) and Dylan Walker (Full of Hell). Buford and Walker are born collaborators, known for their ability to subvert musical expectations, transcend genre and plunge headlong into the unknown. Across the album, the two highly inventive musical omnivores are buoyed by an astounding menagerie of eclectic and celebrated collaborators including: Gangsta Boo (Three 6 Mafia), YoshimiO (Boredoms), Frukwan (Gravediggaz), Claire Rousay, Midwife, Lane Shii Otayonii (Elizabeth Colour Wheel), Foie Gras, and more. Their work with the likes of Thou, Uniform, Merzbow, and Nothing, taken together with their The Body & Full of Hell albums, have established each as singular voices and masterful alchemists of heavy music. The duo shares an affection for rhythm-based beat music, disparate electronic genres, dub, as well as darkly-hued atmospheric ambience. Lockstep Bloodwar exceeds expectations by stunningly combining the noise and confrontational posturing they are both well known for with pulsing and kaleidoscopic electronic samples, drum machines, and grizzled synths.Following the release of their first record, Grave of a Dog- which features Kristin Hayter (Lingua Ignota), Buford and Walker continue to push the boundaries of heavy music. An aura of brusque confrontation and grime is sheathed around Lockstep Bloodwar and its multiplicity of noises and raw energy. Lee Buford"s signature rhythmic voice stretches into new complex patterns while retaining an unearthly punch, with gargantuan bass thuds and deft syncopations capable of transforming a song"s landscape in an instant. A spirit of malcontent and caged frustrations oozes from within each piece manifested in spiraling low end throbs and Dylan Walker"s pained wails. Walker describes the underlying worldview of the album: "Lockstep Bloodwar is the struggle to comprehend and come to terms with the fact that our lives are on a locked track, and the track is violent and painful. We have zero control over our lives on a...

Titled Dawn of the Axe, Cruel Force's long-awaited new album is, in many ways, a new chapter for the band. As presaged by that short-length, Dawn of the Axe harkens to dustier, more archaic times - ones where subgenre delineations weren't so strict and all was mostly Heavy Metal. For sure, Cruel Force can still thrash with the best of them - regular thrash, "blackthrash," whatever - but their sound carries a strong old-style speed metal edge reminiscent of '80s Kreator, Iron Angel, and Germany's Deathrow, sharp as an axe and just as lethal. And while the blackened elements of the first two albums have been dialed back some here, the overall speed of Lp#3 is, in fact, faster. But as Dawn of the Axe slices onward, it soon becomes apparent that that the quartet are subtly integrating a more rarefied field of influences, with the mysticism of '70s Rainbow and especially Scorpions most prominent as well as the blue-collar thrust of early US metal - again, all before the development of speed metal or thrash. Thus, the nine songs comprising the 39-minute album exude a wider variety of moods and dynamics, and also sees Cruel Force exploring their more epic side, with three of those songs topping six minutes. No matter the mood or dynamic, though, energy bristles from every second of Dawn of the Axe - riff, rhythm, lead, vocal, Everything - and with the slightly-more-atmospheric recording style (or a more "mysterious" production, perhaps), it all gels together to create the band's strongest and most complete statement to date. No matter how you (axe)slice it, there's no wimping out whatsoever! It's rare for a band to be away a full decade and then come back with their best work, but such is the case with Cruel Force and Dawn of the Axe. There's some strange magick brewing in the Devil's Dungeon, and they've crossed the Styx to bring you that Power Surge!

Pelican and Thrill Jockey are proud to present a deluxe edition of the band’s acclaimed 2005 album: The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered, and featuring special bonus rarities including an early version of “Red Ran Amber,” (previously only available on a split with Mono) and demos of “Autumn Into Summer,” “Last Day of Winter” and “Sirius” The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican’s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands that have risen to prominence since its release. The genre-busting nature of the album’s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album’s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album’s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band’s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican’s distinct sound as a unified force.

Cosmos - the first full-length album from the instrumental prog metal act Navian! The instrumental prog metal trio Navian build their music on technical melodies, interesting rhythms, big soundscapes, and groovy hooks! Cosmos is an energetic and playful mission into a dreamy and atmospheric prog metal soundscape. And getting there has been a journey. “We started out talking about the vision we all had in mind of what we wanted to do this time around. How we wanted the instruments to sound, the way we wanted to orchestrate and arrange the music, how we wanted it to be played, what kind of energy and landscape we were looking to capture and how we wanted the production to reflect our music. We met each day for two weeks sketching out rough ideas and demos for a song a day. Then the process of selecting the pieces we wanted to develop into songs. It was a big part to have the pieces available on our phones, so when we were out-and-about we could listen to them and get a sense if it worked or not. It was often decided if the hook was memorable or if one of us had an idea on how to develop the track further” - Navian Whilst working on Cosmos it was essential for Navian to stay open in their approach to the music and let it form freely. Stepping away from the stereotypical purist thought pattern that often rule the genre. The album is as such a result of the individual members combined background and influences, where their unified love for modern progressive metal meets and entwines with elements from pop, hip hop, and jazz. Compared to previous releases, Navian has also made a major leap when it comes to the production and the recording with Cosmos. “We feel like Cosmos has helped us solidify our expression and our voice. With our previous releases we have been at a stage where we still were looking for influences and still developing as a band. Now we have something that we all can look at and say, “this is Navian”. – Navian

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

HELLS HEADBANGERS is proud to present SKELETHAL's highly anticipated third album, Within Corrosive Continuums.Formed in 2012, SKELETHAL have been at the forefront of the now-fertile French death metal scene. While many of the band's primary influences have been Swedish - Entombed, Carnage, and Dismember - over the past decade, the quartet have finessed that style of death metal into one that feels classic rather than simply "old." Call it intrinsically understanding what makes death metal DEATH METAL or simply possessing the songwriting nous to add to such a hallowed canon rather than merely milking, but SKELETHAL have proven to be contenders to the throne. First full-length evidence was 2017's Of the Depths..., followed by 2020's Unveiling the Threshold, which saw a lineup change and bold steps beyond Swedeath (and both released by HELLS HEADBANGERS), and now arrives LP#3 to all but assure that ascent to the throne.Tellingly titled Within Corrosive Continuums, SKELETHAL's third album equally encapsulates their past and builds upon it in noble ways. While it's predecessor saw a slight uptick in clarity, here do SKELETHAL carry forward that clarity with a conspicuous dirtying-up of tone. The production's as powerful as ever, so it could be argued that that rediscovered grit & grime come more in the band's execution - or, more accurately, the songwriting itself. Within Corrosive Continuums immediately sounds like the same band who unleashed those prior two (celebrated) LPs, but SKELETHAL flex a bit differently here, opening up a number of (still-death metal) influences and transforming them into riffs and rhythms that ever so slightly more adventurous, all without (crucially) losing their characteristic directness. As such, the bulk of these largely-five-minute-long songs feel twice as fast, so feverish is the band's intensity, but dread-draped hooks and CRUSHING heaviness still rule the day. Put another way, SKELETHAL take on textures that are more personal and somber, but keep the expression resolutely death metal. Simply witness the 13-minute closing juggernaut, appropriately enough the title track: hearing is believing, and SKELETHAL will make believers out of even the crankiest "old school" diehards. 1.Creation ?2.Spectrum of Morbidity3.Mesmerizing Flies at the Doors of Death4.Eyes Sewn Mouth Full5.Upon the Immemorial Ziggurat6.Fatal Abstraction7.Within Corrosive Continuums

In the mid-90s, a resurgence in Electro-Industrial was firmly focused on dance-floors. At this pivotal time, two San Francisco metal scene defectors, Mike Wells and Mike Cadoo, connected through a mutual friend. Bonding over their shared appreciation for non-metal influences, Wells, armed with a sampler and a couple of synths, had crafted a few tracks. Cadoo swiftly added vocals to these compositions, and thus, Gridlock was born. With relentless dedication, the duo embarked on sculpting a grittier, more ominous variant of electro-industrial. Steering clear of the upbeat rhythms typical of the genre, they opted for a dystopian, dirge-like pace. Drawing inspiration from iconic acts like Skinny Puppy, Einsturzende Neubauten, and Fields of the Nephilim, they pieced together the Sickness demo. Eager to share their creation, they distributed the demo to anyone who would lend an ear, including many users on the rec.music.industrial newsgroup. Despite numerous rejections from industrial music labels citing its lack of danceability, Pendragon Records saw potential and took a chance. Thus commenced the earnest endeavor of crafting their debut album, The Synthetic Form. Upon its release, it marked a pivotal moment in industrial music, ushering in a fusion of classic, experimental, and dystopian ambient elements. Pendragon Records tantalizingly teased the album as "Unleashing a World of Your Demons," offering a glimpse into its bleak exploration of themes like regret and personal turmoil. Over the years, Gridlock evolved through three subsequent albums, progressively exploring diverse sonic territories beyond the confines of industrial music. However, their journey met an acrimonious end with the duo parting ways, leaving behind their albums as poignant relics, elusive on digital platforms and sought after by collectors at premium prices... until now. In a heartfelt tribute to Mike Wells, who tragically passed away in 2022, Viasonde, with the blessing of the Wells family, embarks on a mission to reintroduce Gridlock to the world. The four main Gridlock albums will be reissued on vinyl for the first time, starting with The Synthetic Form double LP. Available on June 7th, this limited edition release will be featured on clear vinyl with black and bone splatter alongside standard black vinyl. Additionally, 50% of the proceeds from LP sales will be donated to the American Foundation for Suicide Prevention, honoring Wells' memory.