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Los Angeles-based dark melodic metal outfit Witherfall proudly presents their fourth full-length, “Sounds Of The Forgotten”, via DeathWave Records. With predecessor "Curse Of Autumn" garnering high praise in Metal Insider, Deaf Forever, and KNAC.com, as well as admirable positions on Germany’s Top 20 Albums chart and Billboard’s Top New Artist Albums and Billboard 100 chart, “Sounds Of The Forgotten" advances Witherfall to legendary status with its epic, foreboding expanse. The album is supported by an ambitious schedule of seven singles, each with an official video linking the album’s story of heartbreak, anger, and tenacity. This is genuinely Witherfall, always willing to go the extra mile to outclass the past.

Witherfall was formed in Los Angeles in 2013. Joseph Michael (also of Sanctuary fame) and Jake Dreyer (ex-Iced Earth/Demons & Wizards) built their new band around drummer Adam Sagan (rip) and accomplished bassist Anthony Crawford (Allan Holdsworth, Chon). Since then, the group have released three highly regarded albums: "Nocturnes And Requiems" (2017), "A Prelude To Sorrow" (2018), and "Curse Of Autumn" (2021) and an EP "Vintage" (2019). Not one to cut corners, Witherfall enlisted famed drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess) on "Curse Of Autumn", ensuring the foundations of singles 'As I Lie Awake', 'The Other Side Of Fear', and 'The River' were second to none. On "Sounds Of The Forgotten", Minnemann returns to the fold with an album-only appearance, while drummer Chris Tsaganeas (Wax Owls) and multi-instrumentalist Gerry Hirschfeld (Willie Nelson) Witherfall’s newest permanent members.

Every Witherfall album is a defining moment. From the moment "Nocturnes And Requiems" thundered across metaldom to the group’s wine endeavours (Tempest Red Blend) with Charlie & Echo Winery, their video collaboration with Cig Neutron (Devil’s Workshop) on 'The Other Side Of Fear', a beer partnership with Adroit Theory Brewing Company (Shadows Black Ipa), and custom Funko Pop set, Michael and Dreyer have made Witherfall their mission. The journey to this point hasn’t been without toil and upheaval. Determination, however, is the key. Today, Witherfall brings “Sounds Of The Forgotten" to the masses. Experience it all with them.

Los Angeles-based dark melodic metal outfit Witherfall proudly presents their fourth full-length, “Sounds Of The Forgotten”, via DeathWave Records. With predecessor "Curse Of Autumn" garnering high praise in Metal Insider, Deaf Forever, and KNAC.com, as well as admirable positions on Germany’s Top 20 Albums chart and Billboard’s Top New Artist Albums and Billboard 100 chart, “Sounds Of The Forgotten" advances Witherfall to legendary status with its epic, foreboding expanse. The album is supported by an ambitious schedule of seven singles, each with an official video linking the album’s story of heartbreak, anger, and tenacity. This is genuinely Witherfall, always willing to go the extra mile to outclass the past.

Witherfall was formed in Los Angeles in 2013. Joseph Michael (also of Sanctuary fame) and Jake Dreyer (ex-Iced Earth/Demons & Wizards) built their new band around drummer Adam Sagan (rip) and accomplished bassist Anthony Crawford (Allan Holdsworth, Chon). Since then, the group have released three highly regarded albums: "Nocturnes And Requiems" (2017), "A Prelude To Sorrow" (2018), and "Curse Of Autumn" (2021) and an EP "Vintage" (2019). Not one to cut corners, Witherfall enlisted famed drummer Marco Minnemann (The Aristocrats, Steven Wilson, Jordan Rudess) on "Curse Of Autumn", ensuring the foundations of singles 'As I Lie Awake', 'The Other Side Of Fear', and 'The River' were second to none. On "Sounds Of The Forgotten", Minnemann returns to the fold with an album-only appearance, while drummer Chris Tsaganeas (Wax Owls) and multi-instrumentalist Gerry Hirschfeld (Willie Nelson) Witherfall’s newest permanent members.

Every Witherfall album is a defining moment. From the moment "Nocturnes And Requiems" thundered across metaldom to the group’s wine endeavours (Tempest Red Blend) with Charlie & Echo Winery, their video collaboration with Cig Neutron (Devil’s Workshop) on 'The Other Side Of Fear', a beer partnership with Adroit Theory Brewing Company (Shadows Black Ipa), and custom Funko Pop set, Michael and Dreyer have made Witherfall their mission. The journey to this point hasn’t been without toil and upheaval. Determination, however, is the key. Today, Witherfall brings “Sounds Of The Forgotten" to the masses. Experience it all with them.

Standout favorites of Riding Easy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done. White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a five-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides six of the ten tracks on Thunderbolts Of Fuzz. The original White Lightning trio only released the one 45-rpm single “Of Paupers And Poets” during their existence (on local Hexagon label in 1968, later reissued by major label Atco Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, three of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history. Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly ’70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.

With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band’s mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. “Next To Pay is about a sense of imminent doom, everyone is going to die,” vocalist / guitarist Riley Hawk says. “It’s not the happiest record, I guess.” To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill ‘Em All-era James Hetfield and the seething desperation of Kurt Cobain. “This album is more of an evolution, it’s a little more punk-heavy,” Hawk says of the group quickly founded in 2018. “We figured out what our sound was.” And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn’s and Buzz Osbourne’s wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish’s cover of ’80s Dischord Records punks Gray Matter turns the emotive flail of “Burn No Bridges” into a Motörhead-style basher.

We’re pleased to present the second of three classic Century Media vinyl reissues from Warbringer. The next generation’s thrash metal force Warbringer have built a commendable reputation for themselves with heralded albums and consistent touring supporting some of the biggest names in metal. We’re pleased to present a limited 500 copy run of this blue vinyl version with loads of extras in an expanded package, plus two bonus tracks – covers of Swedish black metal band Bathory’s “Sacrifice” and the Motorhead classic “(We Are the) Road Crew,” which Warbringer often includes in their set lists to this day. 2011’s Worlds Torn Asunder took things up a notch and Warbringer really came into their own with a confident and bold new effort, and first featuring drummer Carlos Cruz. Produced by Steve Evetts, Worlds Torn Asunder features classics like “Living Weapon” and “Shattered Like Glass.” Two years of touring continued launched by the band’s first national headlining tour and US support slots to Destruction, Symphony X, Iced Earth and Death Angel, in addition to a European tour with Arch Enemy and virtually every metal festival.

We’re pleased to present the third of three classic Century Media vinyl reissues from Warbringer. The next generation’s thrash metal force Warbringer have built a commendable reputation for themselves with heralded albums and consistent touring supporting some of the biggest names in metal. We’re pleased to present a limited 500 copy run of this blue/green vinyl version with loads of extras in an expanded package 2013’s Warbringer IV: Empires Collapse showcased the band aiming to diversify their sound and taking chances by expanding boundaries by continuing to bring in more influences from black metal to punk to industrial in a overall more experimental and free effort that was initially met with mixed reactions but has become a favorite amongst many in the band’s fanbase. Continuing to work with producer Steve Evetts (Sepultura, Hatebreed, Symphony X) the band opted for a different mix and enlisted Brett Eliason (Pearl Jam, Avenged Sevenfold) who brought a cleaner and different approach to the traditional thrash band. Staples include “The Turning of the Gears,” “Hunter-Seeker,” “Black Sun, Black Moon” and the epic “Towers of the Serpent.” The reissue adds the band’s take on the Led Zeppelin classic “Communication Breakdown.” Touring continued with notable supports to Overkill and Kreator in the US and Iced Earth in Europe.

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.

By now listeners are probably familiar with Riding Easy’s wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the ’60s-’70s. In the endless pursuit of those glorious gems, the label often uncovers equally brilliant rarities from the late-’70s to late-’80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal Volume 1 collects some of the greatest unknown and lost heavy metal tracks, long buried beneath the avalanche of the era’s classic output. Everyone knows the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. One can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. One can hear the convergence of influences—NWOBHM, thrash, glam metal, doom, etc—colliding at once as the era birthed a wellspring of subgenres. Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. Riding Easy has collected the best of the best for the listener here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.

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 are just some of the gems from this latest edition of the popular compilation series featuring long-lost vintage ’60s-’70s proto-metal and stoner rock singles, Brown Acid - The Thirteenth Trip: Max, from Montreal, QC—originally known as Dawn, before Tony Orlando & Dawn forced a name change—kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. “Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You.” Gary Del Vecchio is “Buzzin’” hard, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’. Finally, Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. “Mining the surprising rich reserves of heavy rock and proto-metal from the ’60s and ’70s, these collections have been crucial to understanding the history of a subgenre of rock that had far deeper roots than most fans realize.” – Paste Magazine

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

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

Riding Easy is now in the double digits of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the ’60s-’70s and clearly this has become a bonafide archaeological movement as each new edition leads to more exciting new discoveries. Like the label has done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Here are just a few of the delights herein: This Trip opens with Adam Wind’s “Something Else,” featuring groovy crooning and a very acid-damaged guitar riff that meanders across key signatures like it ain’t no thing. This 1969 single by the Tacoma, WA band predates grunge by 20 years, but the band’s heavy psych and murky tones are just the stuff Northwest heroes Mudhoney sought so fervently at their peak. Lead singer Leroy Bell’s excessive vibrato gives the tune its charm, but the heavy breakdown in the middle is the real payoff. Later, Renaissance Fair take things in a very weird, very fun and undeniably heavy direction with an insanely distorted organ that sounds like a monstrous vacuum cleaner over dirge rhythms and growling vocals on their—let’s reiterate—weird 1968 track “In Wyrd.” Think if someone left a copy of The Doors’ Strange Parade out to warp in the sun on a blown-out toy record player, and then visiting space creatures attempted to imitate what they’d heard. Finally, Crazy Jerry sends this edition off on a high note with “Every Girl Gets One,” featuring crunching riffs, rollicking electric piano, stop ’n’ start rhythms and a curious telephone call sounding like a creepy answer to the Big Bopper’s “Chantilly Lace.” Crazy Jerry is the alter-ego of guitarist Jerry Ciccone, who can also be heard on a few soul / funk and rock records from the ‘70s, including The Left Banke’s second album. But here, Jerry is…well, simply crazy. Get comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock ’n’ roll.

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)

The album of the Finnish gothic rock band originally released in 2002.Repress on black vinyl.

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)

Stockholm's Spelljammer Volume II is like a herd of bison running off a cliff. Not for the faint of heart, this is one of the best doom albums of the last 10 years. If you like your music heavy and slow, there is nothing that quite satisfies the itch the way that Spelljammer does. Out previously on a very limited run of vinyl that has fetched $100 and more, this record is now made available to the masses via RidingEasy Records on LP and CD (for the first time ever). For fans of Monolord, Conan, Sleep & Electric Wizard.

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.

Ozzy Osbourne's 1981 live performance in Montreal was a legendary show during his Blizzard of Ozz tour, featuring high-energy renditions of his solo hits and Black Sabbath classics. The concert is remembered for Osbourne's theatrical stage presence and the virtuosity of guitarist Randy Rhoads.

Hexkonst is the 1st full length album by Ondfødt that was originally released in May 2014 on CD through Immortal Frost Productions. Now, 10 years later, the album has been remastered and will be released on Vinyl for the very first time to celebrate the 10th anniversary of the band their debut. Compared to Ondfødt’s recent work you can hear a big difference in approach and production as it should be! Hexkonst brings the listener back to their old days where the production was still harsh or rather raw and the sound writing more of an old school type of black metal with here and there some elements that on the later albums are worked out into a more occultic atmosphere within the black metal genre. All in all, Hexkonst is a vile piece of an old school black metal album for those who like their metal dirty and aggressive. A must have for those who follow Ondfødt and especially for those who like pure 90’s Black Fucking Metal! 1. Ur Djävulens Kittel (01:15)2. Blodspill (04:23)3. Faensgyte (02:40)4. Kristi Fanskap (03:16)5. Giganternes Vraal (04:01)6. Hexkonst (05:03)7. Verlden Er Min Slakteri (03:11)8. Midvintermarsch (05:49)9. Sorgens Skyar (03:00)

NORTHTRIP AMONG THE STORMS…Active since 1995 and with 5 previous full-lengths under their belts, Russian OLD WAINDS are back on the frozen field.Picking up where they left off with their previous album, the predominantly fast-paced “Stormheart” reveals itself as ice-cold, yet melancholic and introspective at the same time. Driven by stunning guitar work, completely devoid of unnecessary gimmicks and vocals slightly distorted, OLD WAINDS delivered one of the best Black Metal albums of the last couple of years.Mastered by Jack Control and Maor Appelbaum.Dark Nordic Metal from the icy wastes of Murmansk.Grim, cold and majestic as it should be… Side A:1. Watch The Midnight Unveil2. Northern Starfall3. Of Night And Ice4. In The Heart Of The StormSide B:5. The Eternal, The Dead, The Arcane6. To The Moonlight7. Snow Swarm

NORTHTRIP AMONG THE STORMS…Active since 1995 and with 5 previous full-lengths under their belts, Russian OLD WAINDS are back on the frozen field.Picking up where they left off with their previous album, the predominantly fast-paced “Stormheart” reveals itself as ice-cold, yet melancholic and introspective at the same time. Driven by stunning guitar work, completely devoid of unnecessary gimmicks and vocals slightly distorted, OLD WAINDS delivered one of the best Black Metal albums of the last couple of years.Mastered by Jack Control and Maor Appelbaum.Dark Nordic Metal from the icy wastes of Murmansk.Grim, cold and majestic as it should be… Side A:1. Watch The Midnight Unveil2. Northern Starfall3. Of Night And Ice4. In The Heart Of The StormSide B:5. The Eternal, The Dead, The Arcane6. To The Moonlight7. Snow Swarm

NORTHTRIP AMONG THE STORMS…Active since 1995 and with 5 previous full-lengths under their belts, Russian OLD WAINDS are back on the frozen field.Picking up where they left off with their previous album, the predominantly fast-paced “Stormheart” reveals itself as ice-cold, yet melancholic and introspective at the same time. Driven by stunning guitar work, completely devoid of unnecessary gimmicks and vocals slightly distorted, OLD WAINDS delivered one of the best Black Metal albums of the last couple of years.Mastered by Jack Control and Maor Appelbaum.Dark Nordic Metal from the icy wastes of Murmansk.Grim, cold and majestic as it should be… Side A:1. Watch The Midnight Unveil2. Northern Starfall3. Of Night And Ice4. In The Heart Of The StormSide B:5. The Eternal, The Dead, The Arcane6. To The Moonlight7. Snow Swarm

On 'Raspberry Dawn', OKKULTOKRATI thrusts the heretic rock and roll that it has cultivated since its 2008 inception into more extraordinary situations. Classic '70s riffing, snotty punk and brash old-school metal are inventively mixed with pulses and spikes of darkwave and ice cold, psychedelic repetition. The musicians execute these infectious tunes effortlessly, playing with the attitude retained from their roots in rural hard rock and busting a propulsive stomp that aligns them closer to the clarity of recordings from decades past, also exemplified by spring reverb twangs that ping across the mix like rubber bands.

Fantastic Japanese heavy metal originally released in 2003! Finally being reissued after several requests.

Not only fans but also analog collectors and overseas users have highly praised these items! In response to the passionate requests of our devoted fans, the fifth installment of the Ningen Isu original album analog series has been announced! Of course, this release is also on heavyweight vinyl!

Not only fans but also analog collectors and overseas users have highly praised these items! In response to the passionate requests of our devoted fans, the fifth installment of the Ningen Isu original album analog series has been announced! Of course, this release is also on heavyweight vinyl!

Not only fans but also analog collectors and overseas users have highly praised these items! In response to the passionate requests of our devoted fans, the fifth installment of the Ningen Isu original album analog series has been announced! Of course, this release is also on heavyweight vinyl!

Though they came together from far corners of the Nordic underground, Night Shall Drape Us are united by blood and an unwavering spirit for fast, melodic, uncompromising black metal. Their debut album features eight perfectly executed hymns sung by a relentless choir of lunatics. Lunatic Choir offers fast blast beats together with raw yet melodic traditional black metal riffs. “One with the beasts of the black flame”, the band chant in dedication during "Under the Dead Sky", giving themselves into the arms of Holy Death.

MORGUL BLADE's sophomore album delivers righteous headbanging anthems. Songs like the title track and "Beneath the Black Sails" lean into their love of Tolkien lore, with the arena rock attitude inspired by Dokken and the Scorpions. Other tracks like "Frostwyrm Calvary" attack with the ice cold speed of classic black metal. More ambitious yet are "Razor Sharp" and "Neither Cross Nor Crown," which speak to the band's working class attitude and disdain for zealotry. "Heavy Metal Wraiths" is an instant classic blackened epic heavy metal album. Album cover by James Bousema. 1. Eagle Strike2. Beneath the Black Sails3. Heavy Metal Wraiths4. Frostwyrm Cavalry5. Widow's Lament6. Spider God7. Razor Sharp8. A Welcoming Hearth9. Neither Cross Nor Crown10. The Last in a Line of Kings

Languish is a band that has relied on speed to deliver their message in the most caustic and devastating way possible, but conversely they’ve taken their time to reach the point they’re now at; they stand on the precipice of releasing their third studio album, Feeding The Flames of Annihilation. World events forced a creative go-slow which granted them time to ‘hyperfocus’ on crafting a sonically pernicious 11-track ode to human beings accelerating their own demise. Despite the album being swathed in nihilism, the occasional glimmer of optimism pushes through in the form of class solidarity and hopeful resistance.

The New Kauan Album On Limited Deep Sea Blue Vinyl Edition In A Beautiful Gatefold Sleeve!Russian Post-Metal Band Kauan Returns With An Incredible New Concept Album, Ice Fleet. This First Pressing Comes On Sea-Blue Vinyl And Is Housed In A Beautiful Gatefold Sleeve. A Modern Masterpiece That Is Unrelenting In Its Heart-Wrenching Beauty.Kauan Was Founded In 2005 By Anton Belov. Kauan's Music Evokes Feelings Of Languor And Nostalgia, Drawing Upon Viola, Choirs, Slow And Melancholic Piano Melodies, Ambient Vibes And A Neoclassical Approach.Ice Fleet On Vinyl Is Pressed On Deep Sea Blue Wax And Is Packaged In A Gorgeous Gatefold Sleeve, Constructed With Beautiful, Textured, High-Quality Paper.

Terminus' is a varied yet still cohesive album that leaves the crushing heaviness of jesu’s early material behind for the most part while also containing their most introverted emotive cold spaces. following the EP “never” which was released earlier last year, this is jesu’s first full-length release since 2013’s “every day I get closer to the light from which I came”. The space between these two albums is significant as in the interim jesu main man Justin Broadrick resurrected the beyond cult and inimitable Godflesh. Fold out cover with deluxe multi-panel spot gloss art variation. Includes digital download code.

Limited to 1000 copies worldwide. White vinyl, comes either with silver or gold splatter. Randomly picked! "Frail hymns at the altar of self defeat_."when all is fullwhen all is fullwhen all us fallwhen all us fallThere are few artists operative at the fringes of popular music today whose sound has not been in some way or another informed or shaped by the works of Justin K Broadrick. As a founding member or sole proprietor of seminal outfits such as Godflesh, Napalm Death, Techno Animal, and Final, Broadrick has managed to help change or even define the now widespread genres of industrial and death metal, abstracted hip hop and dub, grindcore, and ambient electronics. So is also the case with his work in Jesu, who in the course of a very productive seven year existence have taken the churning pummel of his former project Godflesh, augmented it with the textural melody of 90s shoegaze rock and spawned a new sub-genre and the inevitable legions of imitators. And while imitators may abound, as the originator of this relatively newfound musical territory Jesu is still the clearly visible leader.

Warning! Listening to If Nothing Is demands your full and undivided attention! This is not elevator music. Trying to perform menial tasks while listening to this album will turn your brain into scrambled eggs!! Melding sharp technical skills, creative and splendid songwriting, a keen eye for detail and a streak of madness, the debut album from ‘If Nothing Is’ is a whirlwind of everything within extreme and technical metal music, from thrash, speed, death to black metal. Intersected with progressive, experimental passages and rich jazzy parts, that can remind you of the early efforts of bands like Atheist and Cynic, each song is in itself a journey. Originally released in 2015 only on digital platforms, the debut album of If Nothing Is has gotten a full make over to give it the presentation the material deserves. With new original artwork, the album has been re-mixed and remastered to finally be released in physical forms. ‘If Nothing Is’ is the brainchild of Dødheimsgard bassist Lars Emil Måløy and started out in Trondheim in 2008 from the ashes of the band Revocation. After working relentlessly on the debut album, they got help from Vicotnik from Dødheimsgard to help out with synths, beats and samples. This almost forgotten masterpiece is finally available in all formats again, and if you love your music extreme, complicated and experimental, you will love If Nothing Is.

Voice of Storms is a triumph of soaring, obliterating sludge-prog mini-epics, full of blistering tempos, fearless hooks and burly crush. New album from a band whose last record sold through multiple vinyl pressings!Horseburner blasted onto the scene amid comparisons to Mastodon and Baroness, with an iteration of high-energy sludge metal that sprung from their Appalachian industrial background and elevated conceptual themes. Gear-shifting from hard-charging to restrained to urgent and angular, they distinguish themselves from their stoner-psych contemporaries with staggering musicianship, deploying endless musical flexes that a lot of bands just don't have in their bags. Voice of Storms is a sludge-prog triumph of soaring, obliterating mini-epics that goes places a lot of h...

Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. Polar Veil features Ben Chisholm, main collaborator and multi-instrumentalist with Chelsea Wolfe on Listen To The River, Nameless Void from Negative Plane, performing the guitar solo on the song Ring, and Okoi from Bölzer on guest vocals on Older Than The Gods. When the components of the medicine are familiar but brewed in a completely novel concoction, the resulting side effects can be deliriously intoxicating. Peer behind this Polar Veil for a breath of fresh tundra air.

Polar Veil is pressed on limited edition transparent lake green vinyl, limited transparent ice clear natural vinyl and standard issue blacker than midnight wax variants and each comes with a large scale 12 page booklet featuring artwork by Thomas Hooper.

Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. Polar Veil features Ben Chisholm, main collaborator and multi-instrumentalist with Chelsea Wolfe on Listen To The River, Nameless Void from Negative Plane, performing the guitar solo on the song Ring, and Okoi from Bölzer on guest vocals on Older Than The Gods. When the components of the medicine are familiar but brewed in a completely novel concoction, the resulting side effects can be deliriously intoxicating. Peer behind this Polar Veil for a breath of fresh tundra air.

Polar Veil is pressed on limited edition transparent lake green vinyl, limited transparent ice clear natural vinyl and standard issue blacker than midnight wax variants and each comes with a large scale 12 page booklet featuring artwork by Thomas Hooper.

Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound—if Black Sabbath played Afrobeat—might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. “Musically it’s an opening up more to traditional rock elements,” says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.” The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” “We’re very conscious of how the rhythms service the riffs,” Garcia continues. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

Sometimes a band grows so exponentially from one record to the next, it’s almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and Nwobhm in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart. Reckoning is their Master Of Puppets, their Number Of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning. With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. The band’s heightened professionalism also brings in guest bassist Matt Freeman (rancid, Operation Ivy) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist KAI SUN joined Hell Fire in Fall 2021.

Formed in recent years in San Francisco (though it may seem more likely that they hatched fresh out of a time travel portal from the mid-’80s Bay Area thrash scene), Hell Fire have the classic look and sound of modern metal’s halcyon days. Their sonic assault warmly condenses elements of Angel Witch, Iron Maiden, Rainbow, Exodus, Metallica, Riot, Virtue and Diamond Head into eight tracks of headbanging MUYA anthems.

The free-wheelin’ creativity and infectious vitality of Bay Area thrash is a moment forever locked in time, but its spirit lives on in this band’s galloping guitar picks, soaring harmonies and blistering rhythms. The band’s perfect hybrid of NWOBHM theatrics and American thrash attitude delivers a rousing and genuine expansion on sounds long lost to pointless battles over who can be the most “extreme.”

Hell Fire began when bass player Herman Bandala moved to San Francisco from Tijuana, Mexico, with the hopes of forming a heavy metal band. Herman posted an ad to Craigslist which caught the attention of guitarist Tony Campos. They bonded over a mutual love of ’80s thrash and NWOBHM. Just before they entered the studio to record their debut album Metal Masses, Jake Nunn joined on vocals. The lineup continued to develop over time, finally solidifying with Nunn also taking up second guitar duties and drummer Mike Smith joining prior to recording Free Again.

This sophomore album is being released for the first time on vinyl and remastered for CD and download. It was recorded over five days in Grass Valley, California, at engineer Tim Green’s Louder Studios (The Fucking Champs, Melvins.) Where Metal Masses showcased aesthetic nods to Metallica’s Kill ‘Em All album (as well as a cover photo brilliantly depicting a blurry hand speedily playing a Flying-V guitar), Free Again finds the band coming into their own with emphasis upon grooves, a beefier sound and tighter songs that expertly shift into new parts at the drop of a hat.