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Live at Irvine Meadows Amphitheatre, Irvine, CA, USA on October 19, 1991 from the Bring the Noise Tour.

In early 2021, Eroded comes as a strong, hopeful voice expressing the suppressed yearning for an end of this madness which we all carry inside.

Back in 2012 LIZZARD recorded with Rhys Fulber in L.A. (Paradise Lost, Fear Factory, Front Line Assembly...) who confesses his love for their "marvelous poly-rhythmical sound". It is true that LIZZARD's songwriting is distinguished by at times intricate rhythmical patterns, but these are always woven into the fabric of immensely catchy song constructs. The technical prowess here is well concealed behind the glaring allure of the immediacy of raw, in your face rock music.

Formed in 2006, when Katy Elwell (drums), William Knox (bass) and Mathieu Ricou (guitar & vocals) met and discovered that they shared a common vision in music, LIZZARD soon set out to work on their sound with a mission to find their own idiosyncratic approach to contemporary rock music – music that makes confident reference to the past without romanticising it. In many ways, Eroded is a trip back to the best parts of the 90's, but in the sound of 2020.

Sophomore album Majestic was released in 2014 and met with great critical acclaim: a more spontaneous and raw affair compared to its predecessor, recorded live and produced by the band themselves, the album captures the intense energy the band unleashes on stage. “We’re very much a live band creatively speaking”, says bass player Will Knox. “All of the writing sessions happen in our rehearsal space rather than at home. We believe that to capture any vibe, the chemistry between members needs to occur in real time... at least for us.”

Shift (produced, mixed and engineered by Peter Junge), released in 2018, opened new doors for the French trio: “Lizzard accomplish the perfect balancing act between music that is challenging and catchy in equal measure”, Metal Hammer raved. The band opened for Gojira and Terry Bozzio who invited them to perform on Drum Channel, and embarked on month-long European tours with the likes of HIGH ON FIRE, THE PINEAPPLE THIEF and the ADRIAN BELEW POWER TRIO.

Recorded during a long month of voluntary isolation at the legendary Castle Studios in Germany, Eroded brings a light at the end of the tunnel: “The vibe on the album is generally one of hope and an invitation to stay alert to the light within ourselves, and to keep moving towards brighter destinations.”

Bring on the future and for once, let it be the past, as we knew it before the pandemic.

In early 2021, Eroded comes as a strong, hopeful voice expressing the suppressed yearning for an end of this madness which we all carry inside.

Back in 2012 LIZZARD recorded with Rhys Fulber in L.A. (Paradise Lost, Fear Factory, Front Line Assembly...) who confesses his love for their "marvelous poly-rhythmical sound". It is true that LIZZARD's songwriting is distinguished by at times intricate rhythmical patterns, but these are always woven into the fabric of immensely catchy song constructs. The technical prowess here is well concealed behind the glaring allure of the immediacy of raw, in your face rock music.

Formed in 2006, when Katy Elwell (drums), William Knox (bass) and Mathieu Ricou (guitar & vocals) met and discovered that they shared a common vision in music, LIZZARD soon set out to work on their sound with a mission to find their own idiosyncratic approach to contemporary rock music – music that makes confident reference to the past without romanticising it. In many ways, Eroded is a trip back to the best parts of the 90's, but in the sound of 2020.

Sophomore album Majestic was released in 2014 and met with great critical acclaim: a more spontaneous and raw affair compared to its predecessor, recorded live and produced by the band themselves, the album captures the intense energy the band unleashes on stage. “We’re very much a live band creatively speaking”, says bass player Will Knox. “All of the writing sessions happen in our rehearsal space rather than at home. We believe that to capture any vibe, the chemistry between members needs to occur in real time... at least for us.”

Shift (produced, mixed and engineered by Peter Junge), released in 2018, opened new doors for the French trio: “Lizzard accomplish the perfect balancing act between music that is challenging and catchy in equal measure”, Metal Hammer raved. The band opened for Gojira and Terry Bozzio who invited them to perform on Drum Channel, and embarked on month-long European tours with the likes of HIGH ON FIRE, THE PINEAPPLE THIEF and the ADRIAN BELEW POWER TRIO.

Recorded during a long month of voluntary isolation at the legendary Castle Studios in Germany, Eroded brings a light at the end of the tunnel: “The vibe on the album is generally one of hope and an invitation to stay alert to the light within ourselves, and to keep moving towards brighter destinations.”

Bring on the future and for once, let it be the past, as we knew it before the pandemic.

Chicago’s Broken Hope shook up the US death metal scene with a series of transitional releases, during a time when the genre was shifting from the styles of old vanguards to themes of heavy gore, with a matching visual aesthetic. Sixth album Omen Of Disease was the sole LP to feature Gorgasm’s Tom Leski on vocals, with new drummer Mike Miczek and guitarist Chuck Wepfer of the Rise & Fall joining mainstays Jeremy Wagner and Shaun Glass for gloriously gory excursions, with high speed guitar blasts galore and a few slam elements, along with Sci-Fi synth interludes. Brutally excellent…and not for the faint-hearted!

Live at Irvine Meadows Amphitheatre, Irvine, CA, USA on October 19, 1991 from the Bring the Noise Tour.

Brass Against are back with their 2nd longplayer. Finally.Brass Against covers classics of Rage Against the Maschine along with other protest songs from the whole musical spectre. There are songs from bands like Tool, Black Sabbath, Audioslave and Led Zeppelin. Their videos are guaranteed viral hits. On the microphone you will find singer extraordinary, Sophia Urista.The band says: ,In this politically challenging era, it's time to stand up against the machine. We want the music we perform to sound inspiring and resonate with people's emotions, encouraging them to act. We combine rock and edgy hip-hop to play music that's powerful and empowering. Brass Against is exceptional music with a political edge. We are angry, we are inspired, we are ready for change_and we hope our music amplifies this energy in everyone who listens."The band got quite a name through several viral hits on Youtube. Brass Against`s version of ,Wake up" got more than 19 million views in the meantime.

Mamaleek’s Kurdaitcha is finally back in print! The San Francisco-based duo released their third album of weirdo black metal, Kurdaitcha, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. Kurdaitcha finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals. Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of Kurdaitcha has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket.

Repress on solid blue vinyl in gatefold sleeve. Originally released in 2022. Though still a relatively young band, Year One opens a new artistic chapter for Doodseskader. They are a hip-hop act in one moment and a grunge band in the following, just to transform into a full-blown sludge or hardcore steamroller next. Sometimes they are all and sometimes none of the above – there’s no way to pin them down. “Being able to draw from different musical genres makes us who we are. There's no specific genre we’re looking at. Great songs are great songs. It’s craftsmanship.” Written in late 2020 and once again recorded by Tim De Gieter in Much Luv Studio (Amenra, Brutus, Absent In Body), Year One is as much a declaration of war as it is a declaration of independence: Doodseskader are here to cut their own path – and you better not stand in their way.

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.

Crystal clear vinyl, limited to 200 copies.HEBI KATANA's 3rd full album, known as "Tokyo Samurai Doom"!The classic doom riff and mellow and dark melody reminiscent of THE OBSESSED and TROUBLE have become a hot topic mainly overseas. Both works have been released on CD/LP/cassette by domestic and international labels. Their dark yet melodious doom sound attracted attention, especially among doom/stoner enthusiasts around the world.This work, which is the third album, maintains the classic doom/hard rock sound that has been created up to now, but it also has a strong jam feeling honed through expeditions including overseas tours, and the band ensemble is truly impressive. It is a work of art. Coupled with member changes, the content gives a sense of significant growth and progress. In addition, the songs created through collaboration with seasoned live acts have a more vivid finish. Through songwriting that involves everyone's participation, each band's colors and characters are strongly reflected, and it can be said that the band is exploring a unique sound based on the doom/stoner sound."Hallelujah Anyway" is a straightforward attack with a classic heavy riff and mellow chorus, "Depressed Blues" is a combination of a mid-tempo heavy riff and dark vocals In the second half, "Darkest Priest" develops into a more doomy shuffle boogie, and "Lost" drifts from a dark arpeggio-driven melody to a heavy and sinking development, and the songs included are rich and fulfilling. The yellowtail is something to behold. The rapid advance of "Tokyo Samurai Doom" begins now!

Originally released in July of 2021, “The Dark Parade” marked the influential San Francisco crossover thrash metal act Mordred’s first full-length release in over 25 years. The record was the follow-up to the group's 2020 comeback EP “Volition,” and their first full-length since 1994's “The Next Room.” Due to overwhelming demand with the first vinyl pressing quickly selling out, M-Theory Audio has reissued a second pressing which will be available on limited-edition (300 copies) colored vinyl (black with red splatter). Mordred was formed in 1984 as the burgeoning Bay Area thrash scene was beginning its rise to global prominence. While mosh-inducing thrash formed the basic blueprint of their sound, Mordred stood out as a unique presence thanks to their integration of funk, alternative and hip-hop influences. The group was one of the first metal bands to explore those diversities, but as the dexterous bass performance of Art Liboon and innovative turntable work from band collaborator Aaron “DJ Pause” Vaughn provided a new spin on the thrash metal genre, Mordred retained their metallic bark thanks to groove-laden shred from guitarists Danny White and James Sanguinetti and energetic shout-along choruses spearheaded by vocalist Scott Holderby. That combination of thrash metal and exploratory funk powered three full-lengths on Noise Records between 1989 and 1994, from their revered debut “Fool's Game,” to their even more eclectic sophomore follow-up “In This Life,” through their final – until now – record, “The Next Room.” “The Dark Parade” is Mordred's first album in over twenty-five years, and first since their 2013 reunion. Their new album features five-sixths of the personnel from the group's acclaimed 1991 record “In This Life,” plus new drummer Jeff Gomes (formerly of Fungo Mungo and Mirv). The new record showcases the band's revitalized energy and classic sound, and their varied influences allow their music to sound as fresh now as it did during the group's initial decade of existence.

Vinyl LP pressing. 2024 release. Hyperviolence is the evolution of Australia-based Windwaker's unique songwriting, tapping into a darker and heavier tone than previous release Love Language. It serves as a fresh chapter in Windwaker's journey, capturing the individual and authentic nature of Love Language, while improving on it's focus, maturity and cohesion. As Windwaker always has, Hyperviolence draws from an eclectic range of influences including rock, metal and hip-hop, with nods to EDM, Dubstep, Punk, and even Country/Folk.

First new recordings from Godflesh since 2017's critically acclaimed full length 'post Self'.

'purge' musically, amongst the many layers of dirt, revisits and updates the concepts explored on the 'pure' album from 1992; 90's hip hop grooves mangled and put through the Godflesh filter to create something that is still unique and futuristic in style.

Both minimal and maximal, with layer upon layer of filth and heaviness, Godflesh deliver alien grooves that swing whilst also retaining the psychedelic / bad trip edge that Godflesh has always obsessed over. This is, and always has been, feel bad music; the title alone 'purge' references directly how songwriter / creator Justin K Broadrick utilises this music as temporary relief from his diagnosed autism and Ptsd, a journey he has been on since he began creating music and feeling alone and as an outsider in any 'scene' or 'group' from childhood and throughout his adulthood.

Godflesh gives him the means to express a lifetime of feeling misunderstood and overwhelmed by hyper sensitivity, the band being the vehicle to give him some sense of catharsis and transcendence; a way of communicating overload and constant disenchantment at the human condition, and man's abuse of power and the systems that chain us.

The album references the cycle of horror that man has always and will always put us through; those in positions of power revel in the infliction of pain and horror upon individuals, in the name of their religion, their power, their money, their flags....

8 songs, delivered in a concise fashion for fellow outsiders.

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.

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.

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

Debut album World Vision Perfect Harmony follows a decade of collaborations starting with The Body and Braveyoung's Nothing Passes. For their debut as a duo, Buford and Jones blend bracing and imaginative takes on rhythmic-centric forms from dub, breakbeats, hip hop and beyond for a phantasmagoria of bristling drumscapes. Manslaughter 777 pulls together a vast array of disparate percussive traditions and patterns into a veil of dark, propulsive energy. Recorded and mixed by Seth Manchester at Machines With Magnets, the album's mélange of live and sampled beats fizzle, splat and rupture with an edge. While there are sounds that could be at home on a record by The Body, Manslaughter 777 inhabits much more open spaces. The duo's music is based primarily on drums and eclectic samples, shifting melodic ideas to the overtones and resonances of their respective percussive thuds or clicks. Buford and Jones incorporate hybridizations of live, sampled, and electronic percussion obscuring their boundaries while highlighting their specific tonal and timbral qualities. An alchemical balance of detailed and dynamic production guides each element to the fore in steady waves of relentless momentum. Taken as a whole, World Vision Perfect Harmony is a cornucopia of rhythmic texture. Manslaughter 777 channels a deluge of kineticism into a web of syncopated grooves that are equally entrancing and provocative. Audacious sound architects, Buford and Jones built an album that passionately revels in the world of rhythm. Manslaughter 777's constructs glide as gracefully as they rumble. Together, they are a monument to the power of percussion.

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

Hebi Katana, formed in February 2020 and known as "Tokyo Samurai Doom", has completed its second album, produced by Mr. Okazaki of Eternal Elysium/studio ZEN! The first album released in August 2021 attracted attention in the international scene and was released on labels in Italy, Argentina, USA, Poland, and other countries. Only half a year later, they have completed their remarkable second album. Limited edition colored vinyl with Japanese obi is now available for pre-order!!