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A little maturation goes a long way. Youthful energy is key to aggressive music, but it takes experience and talent to channel that energy productively. In the case of The Catalyst, they've tightened the reins on the droopy tantrums of their previous EP's. Now their music seethes, with biting lyrics to match. Eric Smith still vomits vocals like an aural exorcism, but his "singing" is stronger and more prominent in the mix. He takes aim at the rogues behind the economic meltdown ("Corner office with a view / Picture window from which you might leap to join us in the streets"), as well as Internet backbiting ("You never cite your sources when your passion is poison"). Musically, The Catalyst continue to crank out throbbing, screamy, squealing songs. They sound like the swampy middle ground between Karp and Pg. 99. Yet their members have grown into a tightly knit unit. Though sloppiness is de rigueur among bands that have rediscovered vintage Sub Pop and AmRep records, The Catalyst boast real chops and an idiosyncratic take on the form. On Swallow Your Teeth (Perpetual Motion Machine, 2009), The Catalyst control their chaos just enough to create their most cohesive work yet. Besides, can you go wrong with a song titled "Lars Ulrich's 1986 Funeral (It Should Have Been You)"?

In the summer of 2019, a newly formed, Oklahoma City-based rock band called Chat Pile would release its debut four-track EP, This Dungeon Earth. Little did anyone know at the time, but this initial taste of grotesque, confronting, and visceral noise rock courtesy of four slacker Okies would kick off the story of what would soon be one of the most widely lauded underground acts in years. Like the towering mounds of toxic waste from which it gets its namesake, Chat Pile’s body of work is emblematic of a distinctly midwestern flavor of American dread, with This Dungeon Earth being no exception to the rule. While raw in presentation, Chat Pile’s debut EP comes across as anything but a rough draft. Much of the band’s hallmark traits, spanning the unhinged vocals of frontman Raygun Busch, the grotesquely contorted guitar riffage, and the industrial smack of heavily processed percussion, appear as far back as this earliest chapter. If anything, the raw, DIY-rooted origins of these uncompromising thirteen minutes of sludged-out carnage make This Dungeon Earth all the more impactful. Between its biting social commentary and gratuitous grindhouse insanity, the unfiltered brutality of Chat Pile’s debut recording has seen tracks like “Rainbow Meat”, “Face”, and “Ratboy” become mainstays in its notorious live shows. Although it depicts the band’s monstrous amalgamation of noise rock, sludge metal, hardcore, and more as it is just beginning to congeal, This Dungeon Earth comes off as the furthest thing from a simple intro and more of an essential first chapter in Chat Pile’s story.

Deadline would have been the follow-up to the Possessed album, but was never properly recorded or released, due to Venom Founder Mantas departing the band in 1986. A little known fact about the recordings is that around half of the guitar work is by Mantas, while the rest of the tracks feature JIM Clare (aka Jimi C). Possessed-type tendencies were laid down. Then nothing. Not a thing. Until, that is, the bombshell hit that my guitar hero for all those years had only left the band!

A/Oratos is a Gnostic Black Metal band formed in Paris in 2016 by Wilhelm, deriving its name from the Greek Aoratos, which could be translated as in/visible.

The band engages in a struggle against the materiality and spiritual void of contemporary society through Knowledge, offering a musical reflection on the connections that govern the realms of the Visible and the Invisible.

Intensely melodic and mystical, featuring progressive variations and acoustic atmospheres, the group draws its reflection from the ancient esoteric traditions of Hermetism, Kabbalah, and Gnosis from the early centuries after AD.

Limited edition of 100 copies. A whopping 12 years after the release of Monkeys with Guns from the Swedish punk'n'roll gods, it's now going to "bone" on Noisy Plastics Records and Backbite Records. The first time that there is a vinyl reissue of this incredibly good record. The Bones have blasted 15 absolute pieces here that simply don't get boring and, in addition to a fat pogo, also get you dancing.

Melodic boards like Shooting Blanks bring punk rock into your place, but also fine rock 'n' roll songs like the opening song by Bones City Rollers really make every room crack. But even a little mosher can get by. Because one or two tracks definitely make your neck turn to rubber.

Sure, blame the guy in the dress… and then move your tired bodies and die like men. This album offers eternal hits and even more in very elaborate and fantastically beautiful versions.

Deadline would have been the follow-up to the Possessed album, but was never properly recorded or released, due to Venom Founder Mantas departing the band in 1986. A little known fact about the recordings is that around half of the guitar work is by Mantas, while the rest of the tracks feature JIM Clare (aka Jimi C). Possessed-type tendencies were laid down. Then nothing. Not a thing. Until, that is, the bombshell hit that my guitar hero for all those years had only left the band!

Rockabye Baby! transforms timeless rock songs into beautiful instrumental lullabies. The soothing sounds of the glockenspiel, vibraphone, melltoron and other instruments will lull your baby into a sweet slumber.

On this album, they’ll enjoy Metallica’s biggest anthems without the pesky earplugs you didn’t bother to wear growing up. We’ve turned down the volume from an eleven to a two, and made the bed ourselves. Say your prayers little one. Tonight the sandman will be gently rocking you to sleep with these essential masterpieces of rock n roll.

Jours Pâles, the new project of Spellbound (vocalist – Aorlhac) was born from the ashes of Asphodèle’s first and only album, released in 2019 with Les Acteurs de l’Ombre Productions. Spellbound and Audrey Sylvain (Malenuit) are accompanied by Christian Larsson (Ex Apati, ex Shining, Gloson) Stefan Bayle et Sébastien Papot (Guitare et batterie, Au champ des morts).

During a European tour by HADES, it became apparent that the band would soon disband. Guitarist Dan Lorenzo formed Non-Fiction with Dan Nastasi (MUCKY PUP, DOG EAT DOG), who subsequently recorded an EP. However, the line-up carousel was to turn again and HADES and WATCHTOWER singer Alan Tecchio and bassist Kevin Bolembach (later SEVEN WITCHES, JACK FROST and others) came on board. In 1991, the debut "Preface" was released on Grand Slamm Records, in Europe on Steamhammer/SPV. At the time, the band's doom metal leanings must have puzzled many fans of HADES and WATCHTOWER, while fans of this style remained ignorant at a time without the Internet. It is astonishing that certain trademarks of HADES can still be found in the music of NON-FICTION (see also the 1995 reunion album by HADES). In 1992, the second album "In The Know" was released, which is considered a fan favourite and was only released on CD at the time. Once again, the cover artwork is reminiscent of the art of Hipgnosis (Pink Floyd, UFO etc.). Many fans have been waiting for an LP version, which is now available 32 years later.After the release, Non-Fiction successfully toured with Savatage and Overkill, where they could also be seen in Europe. Both HADES and WATCHTOWER (with Alan Tecchio) are - sporadically - active again today and quite a few fans hope that Non-Fiction will also make another appearance. The musical continuation, albeit a little more modern, is currently Dan Lorenzo‘s band PATRIARCHS IN BLACK, which is successful in the USA. TBC

Time to resound the trumpet as Australian blackened sludge veterans Lo! return with another grand infernal vision, captured in capital riffs and gargantuan grooves! After the universal acclaim of the band's 2017 studio endeavour Vestigial the Australian interstate quartet show no intention of slowing down with The Gleaners_a soul-ripping hell-ride across nine visceral anthems; an affair of raw violence with a touch of sophisticated madness. Lo! herald the end of the existing order of things, executing crushing judgement upon those tyrants who put the poor to powder.On The Gleaners Lo! firmly continue in the vein of their much-lauded third album, setting an over-arching storyline with multiple characters to a symphony of sonic death and destruction. "Vestigial opened up the writing arena for Lo! in many ways," explains guitarist and main-songwriter Carl Whitbread about the predecessor of The Gleaners. "We created an album of anthems without losing the groove or viciousness of performing live, using defined characters and themes that are revisited and interwoven across the record, while also experimenting with atmospheric and cinematic samples to breathe life into the recording."Above all, this record is nothing but a firm rattling of your cage - and who could expect something else from the minds of this Australian quartet who have been churning out nothing but stellar sludgy blackened hardcore over the past twelve years? Like a Hieronymus Bosch painting, the storyline of The Gleaners has little of a focal point, the characters crawl all over the place - its chaos is complete - but somehow its impact is phenomenal. Lo! have gone and done it again, creating a terrifying vision of the infernal madness of our reality that shakes you to your core!FFO Converge, Baptists, Black Breath, Mastodon, Trap Them, LLNN

In the winter of 2013, IDVex (a.k.a Ifigeneia Derizioti) formed the one-man band 1/2 Southern North (read: Half Southern North) in Kalamata, Greece. The musical compositions are characterized by heavy melodic lines, a languid and sluggish tempo and the use of prolonged sonic scenes. In addition, the lyrics deal with Mythology, Left Hand Path Philosophy, Occultism and personal experiences. In a nutshell, the band is inspired by several genres such as black metal, doom metal, experimental and avant-garde music.

The aesthetic of the first full length album, “Narrations of a Fallen Soul”, is based on ancient Greek tragedy while the compositions’ structure is similar to the forms of classical music.

The main theme of the album is the essence of Death and the Soul, as the Spirit is freed by Lucifer (the sacred snake Ophis). Death here represents the minor god Thanatos of ancient Greek mythology, who is the last lover of the maiden Soul, a "marriage" of eternity, the bitter inevitability of death and decay. The Soul accepts her destiny and frees herself from the bounds of matter to join the Moon, the ancient Mother of all.

Miasmes, formed in 2021 by G. bass/vocals (ex-Ritualization, Antaeus live), K. guitar (ex-Como Muertos) and C. drums, delivers an old-fashioned, raw and dirty Black Metal, tinted with Rock’n Roll for the structure of the songs as well as Punk for the aggressiveness and energy! The lyrics are entirely written in French and the main themes are the human decay, death and apostasy. In August 2021 Miasmes recorded live its first 5-track EP “Vermines” (except for the guitar solos) with no metronome nor editing, to keep it raw and authentic as Black metal should be.

Hyrgal was formed in 2007 by the guitarist/vocalist Clément Flandrois (Pillars, Oorthian, Svart Crown) with the help of Quentin Aberne (Carcolh, ex-Sun Preachers, ex-Marble Chariot) as a bass player and Thibault Meunier (ex-Otargos) on drums.

The trio released its first demo on a split album with Kairn (acoustic project of the former Otargos guitarist, Julien Savy). They then opened for bands such as Wolves in the Throne Room, Year of No Light, Otargos, etc.

In 2016, Clément decided to take back the project with a new drummer, Emmanuel Zuccaro (Oorthian, ex-Karne, ex-Sulphureign), with whom he had been in touch since 2012, and Quentin, still playing bass. Together, they present their first album Serpentine at the Ladlo Fest in the end of 2018, shortly before Emmanuel and Quentin’s departure. They are replaced by Nicolas Muller (ex-Svart Crown) and Alexis Chiambretto (Deveikuth).

Even if the line-up went through some ups and downs, Clément and his new accomplices made a strong comeback with Fin de Règne in December 2020, and in the spring of 2022 with an unnamed album.

During a European tour by HADES, it became apparent that the band would soon disband. Guitarist Dan Lorenzo formed NON-FICTION with Dan Nastasi (MUCKY PUP, DOG EAT DOG), who subsequently recorded an EP. However, the line-up carousel was to turn again and HADES and WATCHTOWER singer Alan Tecchio and bassist Kevin Bolembach (later SEVEN WITCHES, JACK FROST and others) came on board.In 1991, the debut 'Preface' was released on Grand Slamm Records, in Europe on Steamhammer/SPV. At the time, the band's doom metal leanings must have puzzled many fans of HADES and WATCHTOWER, while fans of this style remained ignorant at a time without the Internet. It is astonishing that certain trademarks of HADES can still be found in the music of NON-FICTION (see also the 1995 reunion album by HADES). In 1992, the second album 'In The Know' was released, which is considered a fan favourite and was only released on CD at the time. Once again, the cover artwork is reminiscent of the art of Hipgnosis (Pink Floyd, UFO etc.), which also applies to 'It's A Wonderful Lie', released in 1996. The band's third and final album is a little more experimental, but otherwise continues the familiar style.As HADES were active again at this time, the subject of NON-FICTION was regrettably shelved. Both HADES and WATCHTOWER (with Alan Tecchio) are - sporadically - active again today and quite a few fans hope that NON-FICTION will also make another appearance. The musical continuation, albeit a little more modern, is currently Dan Lorenzo‘s band PATRIARCHS IN BLACK, which is successful in the USA. 1. INTROFUCTION2. PICTURE IMPERFECT3. LOVE, LIKIN, NOTHING4. BIG BLUE FLU5. BLACKENED BLUES6. FURIOUS MAN-GO7. SOMEHOW8. A VERSION9. SOCIAL LIES10. CHIPMUNK FUNK11. DECEPTION VS. REALITY12. SAD & DONE13. INTO THE GROUND14. WAXING PATHETIC15. REASONS16. TRUE / FALSE17. SPENT

Hissing and Sutekh Hexen are two of the murkiest, most cacophonous groups operating in the margins of the contemporary metal underground. Now, these hellish projects come together to release a split album on The Flenser.

Since 2008, Sutekh Hexen have turned the paradigm of black metal completely on its ear. The group creates what can be described as a dense tapestry of black noise, or a wall of intricate tones deconstructing itself brick by brick. Their rich, unparalleled compositions cultivate further interest with each listen.

Founded in 2014 out of a mutual interest in deranged and punishing sounds, Seattle’s Hissing is often described as “blackened sludge.” This does little justice describing the harsh, dissonant soundscapes created by this trio. To date they have released two EPs through Disorder Recordings and Southern Lord, and have a full-length forthcoming.

Limited edition of 100 copies. A whopping 12 years after the release of Monkeys with Guns from the Swedish punk'n'roll gods, it's now going to "bone" on Noisy Plastics Records and Backbite Records. The first time that there is a vinyl reissue of this incredibly good record. The Bones have blasted 15 absolute pieces here that simply don't get boring and, in addition to a fat pogo, also get you dancing.

Melodic boards like Shooting Blanks bring punk rock into your place, but also fine rock 'n' roll songs like the opening song by Bones City Rollers really make every room crack. But even a little mosher can get by. Because one or two tracks definitely make your neck turn to rubber.

Sure, blame the guy in the dress… and then move your tired bodies and die like men. This album offers eternal hits and even more in very elaborate and fantastically beautiful versions.

A manic clash of guitars, bass and drums beating each other’s brains out in the same sonic bullring? Check. Despite already (if a little unbeknownst) being considered crust pioneers, by 1988, Hellbastard had firmly inserted themselves, even proudly so, in between a series of bifurcated genre schisms well-protected by those scene’s respected guardians. Their official debut, Heading For Internal Darkness no less perfectly exemplifies that schism. With Wendy V Gill’s haunted-cosmos monologues injecting some transcendental light into the neck otherwise being mercilessly ripped to pieces by Scruff and Scotty’s spaced-out vocal grunts, opener We Had Evidence to the equally arresting elevator-shaft-with-a-mind-of-its-own Death Camp to The Pylons whip up seriously dark whirlwinds into atmospheric dances of rapid energy and relentless spasms of spellcasting drama. Never mind metal, too punk for anything.

Time Lurker is a solo atmospheric black metal project, created by Mick in 2014. Inspired by the darkness of the human soul and introspective journeys deep into his own torments. Returning after 5 years' silence, Time Lurker are back in 2024 with a new album that has been built on doubt, self-questioning and suffering, but also on the strength of self-transcendence and determination. Joined in 2023 by SOTTE for all the vocals and lyrics. 1. Emprise2. Cavalière de feu3. Poussière mortifère4. Disparais, soleil5. Fils sacré

The band came into being at the end of 2013, thanks to the artistic collaboration of Sinai and Aharon. Their first release, an EP, saw the light of day in 2014, marking their musical debut. In 2016, the band released their debut album entitled "Har HaKarmel", exploring themes related to the decay of paganism. In 2019, the band released a split in collaboration with Darkenhöld, under the aegis of Les Acteurs de l'Ombre. Continuing their momentum, 2020 saw the release of their second album, dubbed "ὄ θεός ό βασιλεύς", distributed by Les Acteurs de l'Ombre. This album delves into the relationship between politics and divinity. In 2023, the band reveals its third album, entitled "De Republica".

Sophomore album from Opera Diabolicus! Listen everybody, bring out Opera Diabolicus! The Swedish horror outfit have created the perfect horror musical with a little help from their friends Mats Levén (Candlemass, Therion, Skyblood), Snowy Shaw (King Diamond, Mercyful Fate, Therion, Notre Dame), Andy La Rocque (King Diamond) and Michael Denner (King Diamond, Mercyful Fate)! With ‘Death on a Pale Horse’, the Swedes bring you the epic tale witchcraft, the black death and revenge!

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.

Record Store Day 2020 Release.
Limitation: 1500 copies.

The full length that started it all! Previously we reissue the album by Green Jelly that everyone was familiar with and now we are reissuing the album that came out first.

This will be the first time that it shows the Green Jelly name as this album has been out of print since 1989 and generally sells for $100-200 on ebay.

This album has original versions of a lot of the songs that would later be released on the Cereal Killer Soundtrack including the first version of Three Little Pigs, Obey the Cowgod and a handful of others that you know/love.

Side A 1) Circus Circus 2) Obey the Cowgod 3) Nightmare on Sesame Street 4) Whip Me Teenage Babe 5) Rock N Roll Pumpkin 6) Anarchy in Bedrock

Side B 7) Three Little Pigs 8) Food Fight 9) Eat Satan's Ham 10) Flight of the Scajaquada 11) Icrog

Sordide comes from the wet gutters of Rouen, Normandy. Since the release of its debut album through Avantgarde, back in 2014, the trio has been spitting a scornful and desperate anger in Moliere’s language under the motto NEITHER NAME, NOR FLAG. Since then, the band has multiplied albums culminating with the release of “Les idées blanche”, in 2021, and played throughout Europe and at Roadburn and Hellfest festivals. After travelling to Iceland and Finland, Sordide will release its fifth full-length, “Ainsi finit lejour”, through Les Acteurs de l'ombre, and its own collective, La Harelle. To present this abrasive opus, Sordide will tour in France, Switzerland and Belgium in October 2024, and in Europe in February 2025. 1. Des feux plus forts2. Nos cendres et nos râles3. Le cambouis et le carmin4. Sous vivre5. Banlieues rouges6. La poésie du caniveau7. Ainsi finit le jour8. La beauté du désastre9. Tout est à la mort

HYPERDONTIA is a name that needs little introduction. In 2018 this Turkish-Danish Death Metal machine unleashed "A Nexus Of Teeth" which proved to be some of the most astounding Death Metal of recent years, earning the band a huge amount of respect. Along with a couple of EP's and a split with MORTIFERUM, we have seen the quality of their music remain consistently high. Now they return with their 2nd full length opus "Hideous Entity". The 40 minute length of the LP spans 8 songs, each of which proves to be a wondrous affair of punishing heaviness in its own right, but the sheer brutality and capability of HYPERDONTIA's songwriting / musical talent can only be truly unlocked when listening to "Hideous Entity" as a whole. Aptly titled, this distorted configuration of sounds is utterly abysmal in the best possible way. All of the instruments and vocals alike work in unison to provide a stoic and barbaric yet intricate tapestry of decimating sounds and contorted atmospherics. Precision is of course key, as has always been the case, with every riff or beat or growl feeling deliberate in its conviction. No second is wasted nor ideas linger past their welcome, this entity transcends through so many juxtaposing qualities with sadistic pleasure, as its volatility will throw you into a whole new abyss of demonic soundscapes. HYPERDONTIA return with triumph and glory on their most blazon display of morbid music to date.

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.”

French epic, old-school metal of the highest order! France’s Meurtrières emerge with Ronde De Nuit, their first full-length. Stocked with seven songs of hard-charging, energetic old-school metal, Meurtrières shows they are one of French metal’s most promising young bands. Lyon, France’s Meurtrières has not strayed far from their original goal of writing old-school, epic heavy metal with medieval overtones on their newest effort, Ronde De Nuit. If anything, the band (consisting of new vocalist Fiona, the guitar tandem of Flo Spector and Olivier, bassist Xavier and drummer Thomas) has taken what they started on their well-received 2020 self-titled EP and added new layers of complexity and depth. It is the natural transition for a band gaining more confidence in its songwriting abilities. Yet the noticeable change starts in the vocal spot. Out is the original frontwoman Fleur and in her place is Fiona. Meurtrières wasted little time introducing Fiona — the band started playing live shows and writing new material with her right after the release of the EP, thus, giving Meurtrières ample time to hone its new material. And Fiona fits the band’s hard-charging, gallant music like a glove, coming away with a stronghold of fiery, epic choruses — all sung in the Meurtrières’ native tongue. The lyrical subject matter on Ronde De Nuit still spans the medieval domain but with increased emphasis on paintings by Rembrandt (The Night Watch) and Johann Heinrich (Füssli). The band aimed to make the songs “pictorial,” reflecting imaginary portraits to draw in the listener. Except for “Aucun Homme, Aucun Dogme, Aucune Croix” (which is a known French medieval legend about a real woman), the songs on Ronde De Nuit are based on fantasy with a desired fate: All the depicted characters are doomed to tragedy, for in the world of Meurtrières, there is no such thing as crowned kings and queens and even glorious warriors. Artwork by Ivan Brun rounds out a package that perfectly ties in thematically with the desperate and dark themes of the lyrics. It is a fitting component to an album laced with stunning visuals and epic, old-school metal of the highest order!

A manic clash of guitars, bass and drums beating each other’s brains out in the same sonic bullring? Check. Despite already (if a little unbeknownst) being considered crust pioneers, by 1988, Hellbastard had firmly inserted themselves, even proudly so, in between a series of bifurcated genre schisms well-protected by those scene’s respected guardians. Their official debut, Heading For Internal Darkness no less perfectly exemplifies that schism. With Wendy V Gill’s haunted-cosmos monologues injecting some transcendental light into the neck otherwise being mercilessly ripped to pieces by Scruff and Scotty’s spaced-out vocal grunts, opener We Had Evidence to the equally arresting elevator-shaft-with-a-mind-of-its-own Death Camp to The Pylons whip up seriously dark whirlwinds into atmospheric dances of rapid energy and relentless spasms of spellcasting drama. Never mind metal, too punk for anything.

Time to resound the trumpet as Australian blackened sludge veterans Lo! return with another grand infernal vision, captured in capital riffs and gargantuan grooves! After the universal acclaim of the band's 2017 studio endeavour Vestigial the Australian interstate quartet show no intention of slowing down with The Gleaners_a soul-ripping hell-ride across nine visceral anthems; an affair of raw violence with a touch of sophisticated madness. Lo! herald the end of the existing order of things, executing crushing judgement upon those tyrants who put the poor to powder. On The Gleaners Lo! firmly continue in the vein of their much-lauded third album, setting an over-arching storyline with multiple characters to a symphony of sonic death and destruction. "Vestigial opened up the writing arena for Lo! in many ways," explains guitarist and main-songwriter Carl Whitbread about the predecessor of The Gleaners. "We created an album of anthems without losing the groove or viciousness of performing live, using defined characters and themes that are revisited and interwoven across the record, while also experimenting with atmospheric and cinematic samples to breathe life into the recording." Above all, this record is nothing but a firm rattling of your cage - and who could expect something else from the minds of this Australian quartet who have been churning out nothing but stellar sludgy blackened hardcore over the past twelve years? Like a Hieronymus Bosch painting, the storyline of The Gleaners has little of a focal point, the characters crawl all over the place - its chaos is complete - but somehow its impact is phenomenal. Lo! have gone and done it again, creating a terrifying vision of the infernal madness of our reality that shakes you to your core! FFO Converge, Baptists, Black Breath, Mastodon, Trap Them, Llnn

New album from Connecticut metal/hardcore outfit Boundaries via 3dot Recordings, the label owned and ran by iconic progressive metal band Periphery.

'Death Is Little More' is the band's fourth studio album - their most aggressive and complete body of work to date, including featured guest vocals by giants of the global contemporary heavy rock scene - Lochie Keogh from Alpha Wolf (au), Marcus Vik from Aviana (se) and Matt Honeycutt from Kublai Khan TX (us).

A little more than a year after the acclaimed, massive Frozen Bloom, Olhava is back with a brand new studio album. Reborn explores yet another side of the relationship between man and nature. In a darker turn, the duo presents a more pessimistic and cautionary reflection on the environment in contrast to their previous albums.

Out of the smoke of the pandemic, Intoxicated return with a renewed energy in the form of their debut full length, Watch You Burn. Recorded at Morbid Angel's old rehearsal studio in Tampa that Intoxicated literally rehabbed and converted into a state-of-the-art studio for renown producer, Ryan Boesch (Foo Fighters, Whores, Helmet, Melvins, Andrew WK), now known as Candor Recording, Watch You Burn is a product of a band on a mission who's Florida roots are worn proudly on their sleeves. While you can hear traces of Obituary, Massacre, and Chuck Schuldiner sprinkled all over the album, Intoxicated offer much more than shades of death. There is a heavy crossover vibe present ala D.R.I. or early C.O.C., as well as some Skate Punk /Thrash like the early Venice Beach bands. In addition, there are moments you'll swear you heard a Matt Pike riff or something out of the Nola playbook. With guest spots courtesy of friends Tony Foresta of Municipal Waste and Ken Andrews of Obituary, Watch You Burn is a bonafide rager! Intoxicated took little time off during the pandemic, adding a new guitarist, John Sutton, who is no stranger to the Florida metal scene having spent time with 90's act Pain Principle. In the last 6 months alone, Intoxicated have supported Obituary, Massacre, Nasty Savage, Gruesome, D.R.I., The Casualties, Inhuman Condition and High Reeper. With Andrew WK's disappearance leaving Erik Payne and Gregg Roberts to their own devices, Intoxicated have certainly taken a front seat and there is no sign of slowing down - the band have the pedal to the floor and plan to be out supporting the album all Summer. You can catch them this Summer supporting Obituary and Municipal Waste on select dates as well as Into the Darkness Fest and Full Terror Assault Open Air!

Re-issue of Belgium’s cult black speed death metal act BLACK SHEPHERD. Originally released in 1988. Luckily the band found the old reels from 1988, unluckily just four tracks on it. These are remixed, restored and remastered, other tracks restored and remastered/ Extensive liner notes with vocalist Yvan and rare and old pictures. Cover art the back then rejected original art work! REEL tracks digitalised/ restored / remixed / remastered: SIDE A:1. Immortal Aggression2. Another Day to Die 3. Make Love War 4. Corpses 5. Evil Revenge6. AnimalRestored / remastered from the LP:SIDE B:7. State of Decay 8. Preacher of Death9. Trash 10. Kill the Priest 11. Lord of Darkness Plus BONUS: Demo 1989 – ‘Welcome’ restored / remastered12. Little Bitch

Korn is the eponymous debut studio album by the American Nu-Metal band Korn. It was released in 1994, right after the band toured with Biohazard and House of Pain. A little more than a year after release, the album went Gold in the United States. The album spawned 4 singles; "Blind", followed by "Need To", "Shoots and Ladders" and "Clown". The album has now sold over 10 million copies worldwide and was never before issued on vinyl.

Including 6 page insert.
Pressed on 180g audiophile vinyl.

Repress of reissue of the second full-length album by Norwegian hard metal band Audrey Horne. Formed in 2002 and despite counting on members from acts like Enslaved or Sahg, this means little indication on its sound. Twelve tracks on double vinyl halfway between hard rock and metal, catchy tunes and soft melodies which include all the necessary elements to satisfy every metal or rock fan. This 2023 edition comes in 2LP 140g with Gatefold Jacket, limited to 300 copies on Solid White Vinyl, 45 rpm.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration. This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new. Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

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.

Hailing from a small country with big dreams, Siamese stands out as a beacon of hope in the Danish music scene. Drawing inspiration from bands likeArchitects and Bad Omens, Siamese navigates the contemporary heavy music landscape with finesse.As they gear up for their upcoming album "ELEMENTS," Siamese embarks on a journey of exploration and evolution. With tracks already gainingtraction on Octane and Kerrang! Radio, "ELEMENTS" not only showcases their heavier sound but also commemorates their 10-year journey asSiamese and having shared stages with heavyweights such as Korn, Corey Taylor, Nothing More and Beartooth it is clear that for Siamese, the journeyis far from over. After all, how can you slow down when you've stared down the end and emerged victorious? 1 The Shape of Water (feat. Ten56)2 Vertigo3 Predator4 Chemistry5 Through My Head (feat. Resolve)6 On Fire7 God Is A Woman8 Utopia9 Hurricane10 This Is Not A Song

As with a choice few truly great bands, the first self-financed cassette recording by Cathedral - made available in October 1990 - was a pioneering underground masterpiece in its own right; the sound of a young band exploring its newfound chemistry, finding confident variations on a flawless list of influences and cultivating a sound and style that would prove hugely inspirational throughout the 1990s and beyond, being a major influence on everyone from Electric Wizard through to Reverend Bizarre.
Where most demos are little more than a dry run for the first album, "In Memoriam" still has its own distinct and important identity in the Cathedral canon. The debut LP that followed, "Forest Of Equilibrium", has a sombre, devout, melodic and mystical grandeur all of its own - but 'In Memoriam' has a far murkier, earthier, more deathly intent. Creepy, cryptic and bowel-looseningly heavy, it represents the first time that the doom metal stylings of Trouble, Saint Vitus, Pentagram and Witchfinder General had been rendered in a new, more extreme metallic form. At the beginning of the new decade, it was really only Cathedral who were proud to assert the influence of true doom metal - a perennially unfashionable genre, but especially in a turn-of-the-decade metal scene so obsessed with speed, technicality, brutality and modernity.

Re-issue of Belgium’s cult black speed death metal act BLACK SHEPHERD. Originally released in 1988. Luckily the band found the old reels from 1988, unluckily just four tracks on it. These are remixed, restored and remastered, other tracks restored and remastered/ Extensive liner notes with vocalist Yvan and rare and old pictures. Cover art the back then rejected original art work! REEL tracks digitalised/ restored / remixed / remastered: SIDE A:1. Immortal Aggression2. Another Day to Die 3. Make Love War 4. Corpses 5. Evil Revenge6. AnimalRestored / remastered from the LP:SIDE B:7. State of Decay 8. Preacher of Death9. Trash 10. Kill the Priest 11. Lord of Darkness Plus BONUS: Demo 1989 – ‘Welcome’ restored / remastered12. Little Bitch

In a world hurtling towards new frontiers of horror on a daily basis, there’s precious little time for pause. For the self-respecting artist, the only reasonable solution is psychic warfare. Moreover, the only way to wage this is without compromise, with the least possible respect for thresholds or co-ordinates of any kind. Such is the terrain of Petbrick on the titanic and transformative Liminal. Here on their second album the duo of Wayne Adams (big LAD / Johnny Broke) and Iggor Cavalera (sepultura / Cavalera Conspiracy / Soulwax) lays waste to all or any constrictions in its path, dispensing an assault of vibrant catharsis that is as rich in atmospheric dread as sulphuric intent. Blending a vast sonic landscape with a relentless compunction to break the pain barrier, Liminal is a dizzying exercise in overdrive which can take in industrial abrasions, pulverising rhythmic drive, acid-damaged freakery, cinematic tension and balladic gravitas in disarmingly coherent fashion.

he final decade of the last millennium was a significant period for the birth of Finnish extreme metal. In the late 1980s, speed metal found its way into the country, and was immediately followed by thrash metal. Afterwards, death and black metal bands started to pop up in every nook and cranny. Some of those rose to an international fame, while others stayed in the shadows waiting for their turn. Through the years, Svart Records has already brought to light many lost treasures of the Finnish metal scene. This June it will be the turn of Thromdarr from Riihimäki and their old tapes excavated from the band’s archives.

The story of Thromdarr reaches back to 1989, when the band’s guitarist Mika Kyöstilä formed Nymphomaniac, a precursor to Thromdarr, together with Ari “Ave“ Auvinen. When the band went through a lineup change, they changed their name to Necrobiosis and eventually to Thromdarr in 1991. According to the band, they entered the scene with the punk attitude of learning by doing. They followed the steps of their idols and started to make fast and heavy metal in the vein of Sodom, Destruction, Kreator, Slayer, Possessed, Bathory, Celtic Frost, Sepultura, Obituary, Pestilence and Death.

When the demos and recordings started to pile up, the musical taste of the band members started to evolve into a more brutal direction.

-“We played the demo to our friends with great excitement and were often told we sound more like black metal than death metal. We didn’t mind this since we had already embarked on that direction and had face paint on the first band photos. We developed the name Thromdarr ourselves and it was supposed to sound phonetically like thunder”, the band’s frontman Kyöstilä recounts.

Early on in their career, Thromdarr had already played with many renowned metal acts, such as Barathrum, Sentenced, Archgoat and Demigod. The band took a couple of cassette pressings of their first studio demo As a Wind Cries and ended up selling 500 copies.

On their later demos, Thromdarr made more experimental material from the black metal canvas. On the other hand, going through a lineup change led to the band losing its driving force, the recording pace slowing down and the little live activity falling behind partying. In the end of the millennium, the band became active again and signed a contract with Solistitium Records, releasing their debut album NorthStorm Arrives in 1998

Svart Records has now compiled Thromdarr’s early demos into a single package. Kyöstilä and Svart’s producer Olli Hänninen have barely touched the original soundscape, instead remastering the demos the way they were originally made with all their faults and successes.

-“The tapes haven’t been remixed afterwards. Instead, they sound as primitive as when they were originally released. The material has also been copied from original recordings. Pick up a beer and listen to old school metal!”, Kyöstilä urges.

Svart Records will release Thromdarr’s Midwinter Frost – Complete demo tapes 1990-1997 double LP compilation and CD on the 17th of June 2022.

Limited to 2250 copies.

Cassette tapes. Remember those? Those things with the dual spools and loads of wide brown plastic recording string that’d occasionally unravel and hang out of the shell, requiring a pencil and firm wrist to spin back into place? Yeah, well, once upon a time, old-school sound systems contained cassette decks for the express purpose of recording shows, and these “cassette” things were a standard part of every tour. Motörhead were certainly no exception, recording show after show. They contain gold, pure aural gold, and had for many years sat hundreds of feet underground in a small cave Lemmy owned, guarded by small, hairy centurions in Roman armor with small spears and bad attitudes. Only the magic password would release them, and thankfully, Lem had scribbled it down and left it inside an old sketch book for us (no, were won’t tell you the password, although it did have the words ’nie nie nie’ in it). There were loads of the dirty, dusty, greasy little buggers gathered, with the likes of Lyon, Liverpool, Hamburg and Chippenham (!!) scrawled in biro on the tiny labels alongside a date...and thus we are delighted to announce that this unique collection of live gems will now be heard by the world, via carefully digitized transfers, in a new series titled THE Löst Tapes. VOL. TWO has been hand-picked by the increasingly deaf, but well-meaning (and hydrated!) Motörhead team, along with surviving members Phil Campbell and Mikkey Dee, and sees the trio in blistering form on the Snake Bite Love album tour recorded -at the University of East Anglia, Norwich on 18th October 1998.

The Loss of Beauty’ is Shores Of Null’s fourth album and follows the acclaimed ‘Beyond The Shores (On Death And Dying)’, unanimously considered by fans and critics as one of the Doom Metal gems of recent years. Both albums were recorded between 2019 and early 2020, and although ‘The Loss of Beauty’ was initially conceived as the band’s third album, ‘Beyond The Shores’ took its place as it better reflected the doom and gloom sentiment of the 'annus horribilis' 2020. Across 11 tracks (plus two bonus tracks), Shores Of Null once again submerges listeners with tempestuous and turbulent riffs. The band continues to hone its sound and take its melancholic dark metal to new heights by mastering an assorted palette of genres with inbred poignancy. The lyrics celebrate beauty in imperfection and transience and are meant to be an invitation to seek beauty in little things, especially those unexpected and ephemeral. ‘The Loss of Beauty’ is dark and heavy, tinged with feelings of despair and melancholy. 'The Loss of Beauty' will be released on March 24 on Oxblood Vinyl limited to 300 copies worldwide & 6-panel digipak-CD, both formats will come with a 16-page booklet

Following the phenomenal success of Panzer Surprise (a gold-certified album), Ultra Vomit are back with Le Pouvoir de la Puissance (The Power of Power), their fourth album in just 25 years of existence! Released in the year 2024, it contains 16 hits and 1 piece of crap of Metal that's as powerful as it is lazy. Huge riffs and a massive sound (from producer Fred Duquesne) are to be expected on all 17 tracks... But, rest assured, this veritable Metal bomb will be defused by some deeply deplorable “lyrics”, bringing a little joy to a life in the throes of an existential crisis. So, dear customers, for your own good, don't wait any longer! Get your hands on this album and come and join us at our galas, where we'll be able to share with you the Power of Power... of Power! 1.Kings of poop 2.Dead Robot Zombie Cop from Outer Space II 3.Le coq 4.Doigts de Metal 5.Toxoplasma Gondii (Felinus Sanctus) 6.Ricard Peinard 7.Mortal konkass 8.The gruge 9.Tikawahukwa 10.Patatas Bravas (feat. Crisix) 11.Mouss 2 Mass (feat. Mouss de Mass) 12.Auto-thunes 13.Ültrüs Crew 14.GPT (à l’instant) 15.Mollo sur le caca 16.La puissance du pouvoir 17.A.N.U.S.

2018's The Subversive Kind, represents a 'return to form' of the Deliverance old school speed metal and thrash beginnings. The group's press material summarizes accordingly: "We're going to give you, the fan, what you've been asking for and what you want - the old school thrash days of DELIVERANCE. Everything you've always loved about DELIVERANCE since the Greetings Of Death days - you're going to get it with this record." True to form, The Subversive Kind is a classic thrash album complete with all the expected trimmings: unrelenting fast tempos, aggressive riffing, tenacious drumming, shredding guitar leads and The Subversive Kind places little emphasis on guitar solos. Repeat listens reveal just how plentiful and impressive are the solos on each of the album's tracks - each one including a lead guitar break to feature not only Greg Minier (The Crucified) but also original Deliverance/Vengeance guitarist Glenn Rogers, who lends his brash soloing abilities in explosive fashion. Consider "Epilogue" in this capacity, as found in it's associating subtle melody and thick as-it-gets Impellitteri style guitars with a stretch of soloing that reflects an almost bluesy feel. Likewise, "Listen Closely, " thrash all the way but imparting some slower doom like tendencies and understated hooks, and "The Fold, " a choice cut with it's anthem like Maiden-esque riffs and dogged-as-it-gets refrain, are also emboldened with lead guitar but of a more flashy variety. At it's heart, The Subversive Kind is a full on thrash masterpiece in the vein of Destruction, Exodus, Overkill and Sodom. It is beautifully brutal in every way, filled with creativity and fervor that seeks to expand your mind and knock you on your... um, "kiester!" The 2024 Retroactive Records includes the two new bonus tracks, treated toa 2024 remaster for this vinyl version, and features the previously out-of-print vinyl on on splatter vinyl for the first time ever! The two first-time studio bonus tracks were recorded for fans just for this reissue, and they feature the classic Deliverance line-up. The bonus tracks take this album from 31 minutes (original release) to 39 minutes of face-melting thrash and speed metal! This album features an All-Star cast with players from then original Deliverance line-up, Tourniquet, Vengeance (early), Heretic, and The Crucified. Limited to just 250 copies

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration. This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new. Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

Maraton break boundaries between genres, creating progressive alternative rock with roaring bass, massive guitars and exceptional vocals. Described as "shamelessly melodic", the band experiments with sounds and creates music that can be described as a dynamic journey through sensory impressions. Thematically, lines are drawn between the emotional and the philosophical, and the songs are based on human receptivity to new impressions and developments. Maraton released their debut album "Meta" in 2019, with great success and very good reviews internationally. At the time of writing, the debut has almost 3 million plays on Spotify alone, and despite the pandemic and little opportunity for concerts, the band's fan base is constantly growing. The band has been praised for their fantastic and energetic live performances with such claims as: "Bergersen's falsetto delivery is simply amazing" and "With a voice driven by power and clarity, I was left with goosebumps in places you did not know you could get goosebumps " - Heavymetal.no. Maraton has previously played at festivals such as Roskilde Festival in Denmark, By:larm- and the Trondheim Rocks festival in Norway, and after the debut album they went on an extensive European tour with Leprous. By combining and experimenting with different genres, the band creates a distinct and iconic soundscape that is characterized by technical drumming performed with mechanical precision, earthquake-awakening bass, shimmering guitars and almost sacred vocals. Despite this strange and wonderful mix, the songs present themselves as surprisingly catchy, but at the same time timeless, and as something that should be enjoyed and absorbed through more than one listening.

Following the phenomenal success of Panzer Surprise (a gold-certified album), Ultra Vomit are back with Le Pouvoir de la Puissance (The Power of Power), their fourth album in just 25 years of existence! Released in the year 2024, it contains 16 hits and 1 piece of crap of Metal that's as powerful as it is lazy. Huge riffs and a massive sound (from producer Fred Duquesne) are to be expected on all 17 tracks... But, rest assured, this veritable Metal bomb will be defused by some deeply deplorable “lyrics”, bringing a little joy to a life in the throes of an existential crisis. So, dear customers, for your own good, don't wait any longer! Get your hands on this album and come and join us at our galas, where we'll be able to share with you the Power of Power... of Power! 1.Kings of poop 2.Dead Robot Zombie Cop from Outer Space II 3.Le coq 4.Doigts de Metal 5.Toxoplasma Gondii (Felinus Sanctus) 6.Ricard Peinard 7.Mortal konkass 8.The gruge 9.Tikawahukwa 10.Patatas Bravas (feat. Crisix) 11.Mouss 2 Mass (feat. Mouss de Mass) 12.Auto-thunes 13.Ültrüs Crew 14.GPT (à l’instant) 15.Mollo sur le caca 16.La puissance du pouvoir 17.A.N.U.S.

SHADOW KINGDOM RECORDS is proud to present POUNDER’s highly anticipated third album, Thunderforge.By now, POUNDER should require little introduction. From their humble beginnings with their debut demo in 2017 to the Faster Than Fire 7” for SHADOW KINGDOM a year later, POUNDER’s ascent was hastened by their proud 'n' powerful debut album, Uncivilized, in early 2019. In no uncertain terms, Uncivilized truly put the band on the international metal map and made ears stand to attention. Despite their collective pedigree, POUNDER's stock-in-trade showed itself as a seemingly effortless, unselfconscious conglomeration of classic metal styles - from a firm foundation of NWOBHM on to hints of early '80s speed metal, Sunset Strip flash, and AOR accessibility. Amazingly, POUNDER eclipsed that momentous first full-length with the all-guns-blazing follow-up Breaking the World in 2021. Leaner, meaner, and all-too-accurately titled, Breaking the World saw the band - vocalist/guitarist Matt Harvey, bassist Alejandro Corredor, and lead guitarist Tom Draper - getting both heavier and more anthemic, more American in their metal but also more wide-ranging in their reach. 1.Sound and Fury2.Thunderforge3.Metal Eternal4.Comin' Loose5.Line of Fire6.Get Pounded7.Deeper Than Blood8.Wet and Reckless

The Berliners present an unusual live album that is a testimony of strange times: their Phanerozoic concept album performed live in its entirety at a time when no shows were happening anywhere in the world.
On September 25, 2020, in the middle of the global pandemic, The Ocean released their 9th studio album Phanerozoic II, the concluding episode of a conceptual trilogy that began with Precambrian 13 years before, with no end of lockdowns in sight, the band decided to thank their fans for the support with 2 streaming concerts, performing both Phanerozoic albums in their entirety.
The performance formed part of the digital edition of Roadburn Festival, aptly named Roadburn Redux. Both shows couldn't have been more different: where the first part boasts with a pompous, mesmerizing lighting production on a big stage, the 2nd part is quite the opposite: intimate, almost cosy, focused on musicianship rather than performance. A stripped down setup in a dark barn, with moody, minimal but not any less efficient lighting.
“We wanted to give people 2 totally different experiences”, says band leader Robin Staps. “In Bremen, we had the chance to record a proper Ocean live show, the way people know us. We played facing towards the front of the stage, to an invisible crowd, essentially to a huge empty room... but we knew people were watching, even if we didn't see them. There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival... maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird.”
Phanerozoic Live is a live album like no other – it is a live album that was recorded in a cultural vacuum, a bizarre time that we will remember for the rest of our lives: a time when the world as we knew it suddenly stopped spinning. It is a live album that goes without all the qualities that we usually appreciate about a live album: without the sounds of a cheering, exited crowd... but it is the very absence of this, it is the eery silence between the songs that reminds us of what we miss most, and that gives these recordings a rare intensity and power.

The Berliners Present An Unusual Live Album That Is A Testimony Of Strange Times: Their Phanerozoic Concept Album Performed Live In Its Entirety At A Time When No Shows Were Happening Anywhere In The World. 3 Lps / 2 Cds Plus Dvd And Access To Hd Video Download And Streaming.Phanerozoic I Was Streamed Live From Pier 2, A Big Hall In The Port Of Bremen, On March 25, 2021. Phanerozoic Ii, Recorded At "Die Mühle" Studio, Aired On April 16, 2021 As Part Of The Digital Edition Of Roadburn Festival, This Year Abtly Named Roadburn Redux.Both Shows Couldn't Have Been More Different: Where The First Part Boasts With A Pompous, Mesmerizing Lighting Production On A Big Stage, The 2nd Part Is Quite The Opposite: Intimate, Almost Cosy, Focused On Musicianship Rather Than Performance. A Stripped Down Setup In A Dark Barn, With Moody, Minimal But Not Any Less Efficient Lighting."We Wanted To Give People 2 Totally Different Experiences", Says Band Leader Robin Staps. "In Bremen, We Had The Chance To Record A Proper Ocean Live Show, The Way People Know Us. We Played Facing Towards The Front Of The Stage, To An Invisible Crowd, Essentially To A Huge Empty Room_ But We Knew People Were Watching, Even If We Didn't See Them. There Was The Same Rush Of Adrenaline Right Before Going On Stage As You Get Before Going On At Any Big Open Air Festival_ Maybe With A Little Extra Anxiety Added, Because Knowing That So Many People Are Watching You Without Being Able To See Them Yourself Was Super Weird."This Release Is Yet Another Master Class Of Record Packaging From Norwegian Artist And Long Term Friend And Collaborator, Martin Kvamme: The Trifold Is Made From Thick, Rough And Incredibly Fibrous Cardboard, Adorned With A Filigrane Copper Foil Embossing Of A Bitmapped Live Fotography From The Bremen Event. It Contains 3 Vinyl Records In Printed Inner Sleeves Or 2 Cds, Plus A Dvd And A Concert Ticket With A Streaming And Hd Video Download Link To Both Concerts.

The Berliners present an unusual live album that is a testimony of strange times: their Phanerozoic concept album performed live in its entirety at a time when no shows were happening anywhere in the world.
On September 25, 2020, in the middle of the global pandemic, The Ocean released their 9th studio album Phanerozoic II, the concluding episode of a conceptual trilogy that began with Precambrian 13 years before, with no end of lockdowns in sight, the band decided to thank their fans for the support with 2 streaming concerts, performing both Phanerozoic albums in their entirety.
The performance formed part of the digital edition of Roadburn Festival, aptly named Roadburn Redux. Both shows couldn't have been more different: where the first part boasts with a pompous, mesmerizing lighting production on a big stage, the 2nd part is quite the opposite: intimate, almost cosy, focused on musicianship rather than performance. A stripped down setup in a dark barn, with moody, minimal but not any less efficient lighting.
“We wanted to give people 2 totally different experiences”, says band leader Robin Staps. “In Bremen, we had the chance to record a proper Ocean live show, the way people know us. We played facing towards the front of the stage, to an invisible crowd, essentially to a huge empty room... but we knew people were watching, even if we didn't see them. There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival... maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird.”
Phanerozoic Live is a live album like no other – it is a live album that was recorded in a cultural vacuum, a bizarre time that we will remember for the rest of our lives: a time when the world as we knew it suddenly stopped spinning. It is a live album that goes without all the qualities that we usually appreciate about a live album: without the sounds of a cheering, exited crowd... but it is the very absence of this, it is the eery silence between the songs that reminds us of what we miss most, and that gives these recordings a rare intensity and power.