Punk/Metal

Dozer “In The Tail Of A Comet” (Heavy Psych Sounds)

2020-05-21T20:50:17+00:00May 21st, 2020|

Heavy Psych Sounds reissue the first three albums of the Swedish legendary band Dozer: 2000’s In The Tail Of A Comet, 2001’s Madre De Dios, and 2003’s Call It Conspiracy. Three masterpieces of the European stoner scene. These three records elevated the scene to a higher level and gave Dozer the scepter of the Scandinavian stoner movement. In the post-Kyuss era, Dozer, along with bands like Los Natas and Acid King, brought a flurry of pure, desert-style monolithic riffs and tons of fuzz guitars. The songwriting on all these three albums was what really distinguished Dozer from the other bands of the early 2000s. The band had a very big influence on the European stoner bands and it can definitively be said that Dozer are one of the European stoner godfathers. Dozer’s last album was Beyond Colossal in 2008, and it’s unknown if they will ever return back with a new release.

As with hundreds of other young Swedish bands, Dozer was the obvious answer to the boredom of a small town youth in a land where the sun seldom visits. After forming in 1995, Dozer emerged in 1998 with their debut 7″ which was awarded “Single of the Week” in Kerrang! magazine. Dozer quickly progressed beyond their early influences and created a style of their own incorporating modern elements into their classic heavy rock sound. A sound that always has been intensely heavy but yet also strongly song and melody driven by the distinctive vocals of singer Fredrik Nordin. Dozer has carefully cultivated a following like none other and a reputation second to none due mostly assuredly to their constant touring and explosive live shows. These simple Swedes have established themselves as a force to be reckoned with in the world of stoner rock, often placed upon the same pedestal as the fathers of the movement: Kyuss and Monster Magnet. With the release of their fifth full length album Beyond Colossal, these sons of Sweden seemed poised to teach the Underground a lesson or two about what Rock and Roll is all about. After a hiatus the band came back again with some live shows over the last years.

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Dozer “Madre De Dios” (Heavy Psych Sounds)

2020-05-21T20:50:17+00:00May 21st, 2020|

Heavy Psych Sounds reissue the first three albums of the Swedish legendary band Dozer: 2000’s In The Tail Of A Comet, 2001’s Madre De Dios, and 2003’s Call It Conspiracy. Three masterpieces of the European stoner scene. These three records elevated the scene to a higher level and gave Dozer the scepter of the Scandinavian stoner movement. In the post-Kyuss era, Dozer, along with bands like Los Natas and Acid King, brought a flurry of pure, desert-style monolithic riffs and tons of fuzz guitars. The songwriting on all these three albums was what really distinguished Dozer from the other bands of the early 2000s. The band had a very big influence on the European stoner bands and it can definitively be said that Dozer are one of the European stoner godfathers. Dozer’s last album was Beyond Colossal in 2008, and it’s unknown if they will ever return back with a new release. But in the meantime enjoy this special “threesome”…

As with hundreds of other young Swedish bands, Dozer was the obvious answer to the boredom of a small town youth in a land where the sun seldom visits. After forming in 1995, Dozer emerged in 1998 with their debut 7″ which was awarded “Single of the Week” in Kerrang! magazine. Dozer quickly progressed beyond their early influences and created a style of their own incorporating modern elements into their classic heavy rock sound. A sound that always has been intensely heavy but yet also strongly song and melody driven by the distinctive vocals of singer Fredrik Nordin. Dozer has carefully cultivated a following like none other and a reputation second to none due mostly assuredly to their constant touring and explosive live shows. These simple Swedes have established themselves as a force to be reckoned with in the world of stoner rock, often placed upon the same pedestal as the fathers of the movement: Kyuss and Monster Magnet. With the release of their fifth full length album Beyond Colossal, these sons of Sweden seemed poised to teach the Underground a lesson or two about what Rock and Roll is all about. After a hiatus the band came back again with some live shows over the last years.

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Dozer “Call It Conspiracy” (Heavy Psych Sounds)

2020-05-21T20:50:16+00:00May 21st, 2020|

Double LP version. Heavy Psych Sounds reissue the first three albums of the Swedish legendary band Dozer: 2000’s In The Tail Of A Comet, 2001’s Madre De Dios, and 2003’s Call It Conspiracy. Three masterpieces of the European stoner scene. These three records elevated the scene to a higher level and gave Dozer the scepter of the Scandinavian stoner movement. In the post-Kyuss era, Dozer, along with bands like Los Natas and Acid King, brought a flurry of pure, desert-style monolithic riffs and tons of fuzz guitars. The songwriting on all these three albums was what really distinguished Dozer from the other bands of the early 2000s. The band had a very big influence on the European stoner bands and it can definitively be said that Dozer are one of the European stoner godfathers. Dozer’s last album was Beyond Colossal in 2008, and it’s unknown if they will ever return back with a new release. But in the meantime enjoy this special “threesome”… Double-LP versions available on standard black vinyl and green vinyl; include one bonus track.

As with hundreds of other young Swedish bands, Dozer was the obvious answer to the boredom of a small town youth in a land where the sun seldom visits. After forming in 1995, Dozer emerged in 1998 with their debut 7″ which was awarded “Single of the Week” in Kerrang! magazine. Dozer quickly progressed beyond their early influences and created a style of their own incorporating modern elements into their classic heavy rock sound. A sound that always has been intensely heavy but yet also strongly song and melody driven by the distinctive vocals of singer Fredrik Nordin. Dozer has carefully cultivated a following like none other and a reputation second to none due mostly assuredly to their constant touring and explosive live shows. These simple Swedes have established themselves as a force to be reckoned with in the world of stoner rock, often placed upon the same pedestal as the fathers of the movement: Kyuss and Monster Magnet. With the release of their fifth full length album Beyond Colossal, these sons of Sweden seemed poised to teach the Underground a lesson or two about what Rock and Roll is all about. After a hiatus the band came back again with some live shows over the last years.

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Type O Negative “World Coming Down” (Roadrunner)

2020-05-21T20:49:57+00:00May 21st, 2020|

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. World Coming Down is their fifth studio album and is considered to be the darkest of the band’s releases, having been written after a series of deaths in Steele’s family. It was their first album to reach the Top 40 on the Billboard 200 chart. The album when issued on CD leads off with a “joke intro”: in this case, “Skip It”, 11 seconds of staccato band noise meant to sound as if the listener’s CD player is skipping. For the debut of this album on vinyl, “Skip It” has been edited to sound like the listener’s record is skipping on a turntable. The track “White Slavery” deals with cocaine addiction. Two other songs, “Everyone I Love Is Dead,” and “Everything Dies”, touch on the difficulties of watching family members and loved ones pass away. “Who Will Save the Sane?” deals with mental illness and psychiatry. The album contains three soundscape tracks: Sinus, Liver and Lung, which are named after internal organs, as segues between songs. Each of these songs is intended to suggest the possibilities of deaths the band members may have suffered at the time. At the end of the album is a cover song of Day Tripper which is a medley of three Beatles songs. World Coming Down received mostly positive reviews upon release. AllMusic critic Steve Huey gave it 4 out of 5 stars. Adam Wasylyk of Chronicles of Chaos gave it a 10 out of 10, saying “An album that won’t be ignored, it’s my favorite album of 1999. Hands down.” The Washington Post’s Mark Jenkins wrote that Type O Negative “…shows some unexpected warmth” on the album, adding that “Much of the album thuds and growls, but the refrain of “Pyretta Blaze” is genuinely catchy.” Although World Coming Down was included on vinyl in the None More Negative 12LP box set, this is the first time it will be getting its own worldwide stand-alone release on wax; courtesy of Roadrunner and Run Out Groove.

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The Pathetx ‎”1981″ (Third Man)

2020-05-14T23:35:44+00:00May 14th, 2020|

Third Man Records is proud to announce the first-ever release of The Pathetx – 1981. Clocking in at 18:16 minutes, available in standard black and limited edition colored vinyl 12” 45rpm versions.

The formation of the Pathetx began in 1980 with singer, Mark Leavitt, and guitarist, Greg Kutcher. They had been playing together in their basements for a while and were looking to get out on stage in the punk clubs in and around Detroit. They assembled the rest of the group, drummer Ted Meek, guitarist happy Tom McHenry and 16 year old bass player Mick Nasty, through newspaper ads, local “punk walls” and music stores. The Pathetx took their inspiration from the West Coast punk scene that was happening at the time, bands like The Germs, Black Flag and Dead Kennedys, as opposed to most of the other punk bands that were kicking around Detroit who were looking to The Stooges and MC5 to show them the way. Nunzio’s was the band’s unofficial home away from home but they played every legendary punk club in the area: Bookies Club 870, Freezer Theater, Red Carpet, Windsor’s Coronation Tavern…you name it, The Pathetx played it. They shared the stage with Detroit’s first wave punk bands as well as the superstars of this new hardcore thing that was happening. They played the legendary Endless Summer Skatepark show with Necros, Negative Approach and Meatmen. Their live shows were filled with beer, blood and pogos.

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G.I.S.M. “Detestation” (Dogma)

2020-05-07T20:41:48+00:00May 7th, 2020|

A reissue of G.I.S.M.’s Detestation, the absolute masterpiece of Japanese hardcore punk, originally released on the Dogma label in 1983. Considered a seminal album for the whole death metal genre, this is must for all fans of hardcore punk, Japanoise, grindcore, anarchy, violence, and all things extreme. Includes are five bonus tracks from the Great Punk Hits (1983), Hardcore Unlawful Assembly (1984), and Outsider (1982) compilations. Limited gatefold edition including a “Punks Is Hippies” poster.

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Brant Bjork ‎”Brant Bjork” (Heavy Psych)

2020-05-07T20:41:46+00:00May 7th, 2020|

Limited edition red spatter vinyl. “Even before you know it’s self-titled, and even before you read the LP liner notes, you know it’s all Brant Bjork. The man who has become the ambassador of Californian desert rock indeed plays every instrument across his 13th studio full-length, Brant Bjork. This in itself is something of a departure from recent offerings, as on 2018’s Mankind Woman, Bjork worked closely with guitarist Bubba DuPree (Void), and both 2016’s Tao of the Devil and 2014’s Black Power Flower were constructed around the Bjork-led Low Desert Punk Band. Maybe revisiting his 1999 debut, Jalamanta, for a Heavy Psych Sounds 20th anniversary reissue in 2019 had some effect on Bjork’s mindset in terms of working solo, but he’s come too far in the ensuing decades to repeat himself, and the songs on Brant Bjork — recorded and mixed by Yosef Sanborn in Joshua Tree and mixed by John McBain (ex-Monster Magnet) — show that, whether it’s the mellow roll of ‘Duke of Dynamite’ or the signature take on classic heavy rock in ‘Jesus Was a Bluesman’ and percussion-backed funk of opener ‘Jungle in the Sound’. There’s no mistaking Brant Bjork, and on Brant Bjork, he strips his songwriting style to its core and brings out the organic vibe that’s made him desert rock’s most crucial practitioner. His legacy and pedigree are unmatched, with tenures in Kyuss/Vista Chino and Fu Manchu as well as the sadly short-lived Ché, Ten East, and others, but it is Brant Bjork’s solo work that has had his greatest impact and shown him to be of inimitable character in craft and style. His unrelenting creativity and one-of-a-kind voice are writ large over the Brant Bjork album, which is precisely how it should be, and after more than two decades of exploring out in the sands, Bjork continues to find new ways to manifest not just the landscape of the desert, but the spirit of his relationship to it. In short, he is a master, and this is the record that bears his name. You miss it at your own peril.” –JJ Koczan

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Pop Group “Alien Blood” (Mute)

2020-04-30T22:45:31+00:00April 30th, 2020|

Alien Blood is the result of the band’s meticulous process of revisiting the original 2” tapes of their studio sessions and recordings, unearthing never-before-heard material, including the studio recording of ‘Kiss The Book’, gloves off version of ‘We Are Time (Ricochet)’, and ‘Words Disobey Me (Dennis The Menace Mix)’ whilst exposing the raw skeletons of iconic tracks such as the original velocity of ‘Thief of Fire (Bass Addict).’

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Rowland S. Howard “Teenage Snuff Film” (Fat Possum)

2020-04-30T22:45:29+00:00April 30th, 2020|

“Teenage Snuff Film was the long awaited first solo album recorded and released by Rowland S.Howard in 1999. Rowland recorded the album at the Birdland & Sing Sing recording studios in Melbourne with longtime colleague and collaborator Mick Harvey contributing drums, organ and guitar and Brian Hooper on bass. The album was produced by Lindsay Gravina and engineered by James Mason & Jade Martin, and released to critical acclaim both here in Australia and internationally. Teenage Snuff Film featured 8 original songs; ‘Dead Radio’, ‘Breakdown (and then…)’, ‘I Burnt Your Clothes’, ‘Exit Everything’, ‘Silver Chain’, ‘Undone’, ‘Autoluminescent’, ‘Sleep Alone’ and 2 cover versions; ‘White Wedding’ (Billy Idol) and ‘She Cried’ (The Shangri-Las). Fat Possum Records is set to release a limited edition double vinyl set of the long out of print ‘Teenage Snuff Film’. This record is highly sought after by collectors, with rare copies appearing on eBay selling for huge $ amounts. Pressed on 180 gram black vinyl — three-sided double album, with Side D featuring an etching of a Rowland illustration.”

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Viogression “Expound And Exhort” (Hammerheart)

2020-04-30T22:45:25+00:00April 30th, 2020|

Forgotten early 90’s Death Metal classic back in the spotlight!

Viogression’s debut is one of the great early 90’s Death Metal albums but it never got any bigger attention. This was because the band signed to one of the most notorious rip-off labels at the time, and this wasn’t the only bad thing that happened. Viogression’s American label folded during the first week of the band’s tour with Death, a tour was meant to promote “Expound & Exhort”, and to add insult to injury, their label could not pay for the Euro leg of said tour and so the band had to withdraw. This resulted in very little attention to their debut which just happens to be a Death Metal masterpiece.

“Expound and Exhort” is an album full of great Death Metal that brings Obituary and earlier Death to mind. Vocalist Brian DeNeffe is in league with John Tardy, but occasionally he uses a vicious screamy style of singing. Mostly the music varies between mid-tempo and slow ’n doomy but there are also some sudden blastbeats. This little factor sets Viogression apart from for example Obituary because they never used blastbeats. The production is good and surprisingly heavy, which is a great thing since some of the more underground Death Metal albums have quite a weak production (and it is fully remastered and restored for this re-issue). Another thing that sets Viogression apart is the use of weird effects and ambient parts in the songs. Viogression definitely gets the job done in the quality department, exuding a level of enthusiasm and intensity that is difficult to miss.

“Expound and Exhort”is one of those albums that doesn’t really get old, it keeps moving and changing things up, and does not fall shy of matching what was coming out of the bigger names in the early 90’s. To sum it all up, “Expound and Exhort” is essential for all fans of early 90’s Death Metal. Despite being heavily Obituary influenced it’s by no means a clone. They don’t make ‘em like this anymore.

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Clientelle “Destination Unknown” (On The Dole)

2020-04-16T20:19:57+00:00April 16th, 2020|

Clientelle came from St. Albans, UK and in 1981 they released the now extremely hard to find ”Destination Unknown” album. Considered a NWOBHM masterpiece the album perfectly blends heavy and loud metal with frenetic powerpop and punk. It’s also beer-stained pubrock with glamrock-roots and even some proggish bits thrown in for good measure. Above all it’s class AAA Brittish working class rock’n’roll and a piece of UK music history that should be heard by many listeners.

This first-ever vinyl reissue is all the evidence needed for how Clientelle followed their own path. Destination Unknown opens with the punky yet poppy ”Play To Win”. It’s followed by the more complex ”My Lady”, where a series of crescendos and softer passages are punctuated by stomping, glam-inclined sections. ”Can’t Forget” comes off like if the Small Faces had been a NWOBHM-act instead of kings of the 60’s modscene. The title track verges on prog rock, but retains a rockiness. ”Missing Persons” is straight-ahead rock, again with this poppiness. Instead of reacting to trends, Clientelle did their own thing – which is why Destination Unknown stands apart, and remains as fresh as when it was released.
Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed. Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on thieir own. Many acts self released singles and a few, like Clientelle, managed to cut a full-length album.

Remastered and restored sound. Extensive liner notes by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos

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Aeternus “…And So The Night Became” (Soulseller)

2020-04-16T20:19:54+00:00April 16th, 2020|

The classic masterpiece and second Aeternus album of black dark Norwegian metal finally re-issued! Heavily rooted in the classic black metal scene from Bergen, Norway, Aeternus first released their second album “…And so the night became” in 1998. 22 years later the long overdue re-issue on cd digipack and gatefold double vinyl is finally presented with the original cover art!

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Black Death “Until We Rock: The Lost Recordings” (Wyrd War)

2020-04-16T20:19:52+00:00April 16th, 2020|

Cleveland, Ohio’s legendary BLACK DEATH is widely hailed as one of the first African American heavy metal bands, and this definitive new triple LP anthology assembles for the first time on vinyl their seminal demos, compilation tracks and only existing live recordings from the classic 1983-1988 era. UNTIL WE ROCK: THE LOST RECORDINGS features their rare 1983 demo, Cleveland Metal compilation tracks, epic live concert jams and previously unheard 1988 rehearsal demo that was intended to be the band’s sophomore record following the acclaimed and highly sought 1984 release on Auburn Records. Three full-length records, more than 100 minutes of music, lovingly restored and mastered for vinyl by Timothy Stollenwerk from the rawest of RAW source material & featuring gatefold liner notes by streetwalkin’ survivor Siki Spacek himself! A crucial underground bridge between the soulful guitar wizardry of Jimi Hendrix and the bold forward-leaning experimentalism characterized by the Afro Punk movement, this expansive collection has been several years in the making. The release date commemorates the precise day that guitarist Vincent Lindsay marched onward in 2018 after a prolonged and brave battle with cancer. UNTIL WE ROCK!

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Handle “In Threes” (Upset Rhythm)

2020-04-03T01:02:00+00:00April 3rd, 2020|

LP version, edition of 500 on 180g vinyl. Incorporating a diverse range of influences, from samba to no wave, Handle, a three-piece from Manchester (now based between Manchester/London/Brussels) made up of Giulio Erasmus and Nirvana Heire, former members of D.U.D.S (the first British band to sign to Castle Face) and Leo Hermitt, a genderqueer multidisciplinary artist renowned for their challenging, thought-provoking work in the city’s arts and literary scenes. The group mesh politics with a trans experience of time and a vibrant, avant-garde freedom of approach. Handle make a uniquely minimal sound, buoyed by poetic, urgent vocals. Each instrument (bass, drums, keyboard and voice) is permitted its own space, yet somehow the result is a brilliantly unified yet understated sonic experience that demands then commands your attention. Powered by looping, hypnotic synth lines, quaking flexes of bass, clattering tribal percussion and expeditious, often agitated vocals that cordially sprint, Handle’s songs — all of which clock in around the two-minute mark — owe as much to performance poetry as they do to the vibrancy of post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis, albeit disorientating at times, pre-empting sense from the shards of sound they gather about themselves. “Life’s Work” begins with isolated swells of pitch before driving full throttle into an exuberant rhythmic workout. “Sunday Morning” shares this elasticated feel for melody and communication, twisting about itself in rubbery fashion. “Coagulate” is more disembodied from the pulse, but similarly retains a boldness of vision. “Step By Step” showcases what Handle excel at, it’s a clangorous leviathan of beat-forward dance punk, peppered with Leo’s fluid vocal inertia. It’s dizzying yet divinely exuberant. “Punctured Time” evokes the same cascading flow “Punctured time, bicycle wheel, what if I told you that your lips were like venus, lips were like what? Lips were like venus and that my tongue was a trampoline?” sings Leo amid undulating bass, toppling drums and jabs of keyboard ambience. Handle make music occupied by dark shapes that move beneath a roiling surface: jolting, shattering, cracking, smoothed, bounded, punctuated. Handle’s debut album In Threes is a collection of frenetic sounds for frenzied forms. In Threes was recorded and mixed by Robin Williams and follows on from the band’s previous EP Demonstrations (2018), released through their own imprint Absolute Fiction.

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Acrimony ‎”Hymns To The Stone” (Burning World)

2020-03-27T02:29:24+00:00March 27th, 2020|

The first album by Acrimony (from 1994) for the first time ever on vinyl! Remixed and mastered in 2019 from original studio files by James Plotkin. Includes new artwork from JimBob Isaac (Taint/Hark). Acrimony’s influences were varied, from ’70s rock to trance techno, but their riffs were undeniably heavy, with lyrics exploring the isolation of their hometown and the same kind of disaffection that once launched Black Sabbath to the outer reaches of doom from a blues rock beginning.

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D.R.I. “Greatest Hits” (Back On Black)

2020-03-27T02:29:22+00:00March 27th, 2020|

Reissue of the D.R.I. ‘Greatest Hits’ album, originally released in 2001. D.R.I.’s music has combined elements of punk rock, thrash metal, speed metal and heavy metal, while their early material has been described as hardcore punk. They are often cited as one of the key bands that helped create the crossover thrash genre, along with S.O.D., Suicidal Tendencies and Corrosion of Conformity.

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Nasty Savage ‎”Wage Of Mayhem + Rarities (1983-1985)” (FOAD)

2020-03-27T02:29:20+00:00March 27th, 2020|

Nasty Savage’s classic demotape ‘Wage Of Mayhem’ (1984) for the first time on vinyl spiced up with a lethal selection of rare and unreleased bonus tracks from the early days. Nasty Savage were the undisputed pioneers of Florida’s metal scene, arguments can be made that the early ’90s Tampa area death metal explosion was a direct result of Nasty Savage, who mixed a more nihilistic view, lyrically and through onstage horror imagery, than the Bay Area. Their debut demotape and the additional early tracks collected here show the band on a more power metal oriented approach (at times even leaning to NWOBHM areas) than the incendiary thrash artillery of some subsequent works, but the amount of memorable riffs, a dark evil mood with a few psychedelic elements and the charismatic vocals of their distinctive frontman Ronnie Savage, clearly show the fact that even at their inception they were surprisingly mature and way ahead for their times.

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Radio Birdman ‎”Living Eyes” (Citadel)

2020-03-27T02:29:19+00:00March 27th, 2020|

‘Living Eyes’ was recorded at Rockfield Studios in Wales during a break in the band’s 1978 tour of Britain and Europe. Relations between members were falling apart and Sire had dropped the band prior to the start of recording. Their breakup soon followed. Initial releases were cut from a tape dub of trial mixes as the band never received an official master. Red Eye Records retrieved the master tapes from Rockfield in 1995 and the album was remixed. Limited to 1250 copies.

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Stephen O’Malley “Auflosung” (Editions Mego)

2020-03-20T19:35:05+00:00March 19th, 2020|

“Produced within the context of The Guidebook of Church Burners publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O’Malley is a result of this collaboration.” – Emilie Lauriola

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Kids “Kids” (Radiation Deluxe Series)

2020-03-20T19:39:50+00:00March 19th, 2020|

140 gram white vinyl edition. Radiation Deluxe Series present a reissue of The Kids’s self-titled debut album, originally released on the Philips label in 1978. Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs. New York fashion contest. Highly-acclaimed as one of the best punk records ever, The Kids’ debut album is now reissued on vinyl, with two bonus tracks recorded in 1977. This is pure and quintessential punk rock.

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Kids “Naughty Kids” (Radiation Deluxe Series)

2020-03-20T19:40:31+00:00March 19th, 2020|

Red colored vinyl version on 140 gram vinyl. Radiation Deluxe Series present a reissue of The Kids’ second album Naughty Kids, originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RRS 113LP). The Kids’ second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK ’70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! Includes five bonus tracks recorded live in 1978.

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Male “Zensur & Zensur” (Tapete)

2020-03-20T19:42:05+00:00March 19th, 2020|

Double LP version. Tapete Records present a reissue of Zensur & Zensur by Germany’s first ever punk band Male, originally released in 1979. Includes 11 live tracks recorded at Markthalle Hamburg, June, 29 1979. “The Dusseldorf punk scene was without compare in the years 1977 to 1979 and Male were there in the thick of it, etching their name into German musical history. I was magnetically drawn towards the punk phenomenon back in 1977 and through Bilk’s integral role in the movement, I was lucky enough to get right up close . . . Somehow, I heard about a gig in an assembly hall and that’s where I saw Male, a burning revelation, rising above all the tiresome Stones cover bands! Loud, dirty, new and different! Setting the German flag alight brought the gig to a spectacular conclusion. I offered my services as a roadie for the gigs that followed in and around Düsseldorf . . . Having broken through the inner-city walls, Male were invited to Berlin for the opening of SO36 where they shared the bill with local Berlin heroes PVC, Din A Testbild, Ffurs and Düsseldorf’s Mittagspause. The Male track ‘Polizei’ is included on a sampler commemorating the event. Next up, the ‘Into the Future’ festival in Hamburg saw them in triumphant mode alongside Mittagspause and Kleenex, earning them a headliner slot at the next In die Zukunft — live albums documented the respective performances. Back in Düsseldorf, a record import store gave Male permission to rehearse in their cellar as they geared up for the production of their LP. Earlier tracks and a few newer songs added up to a superb Male album, from the cut-up lyrics on ‘KH 3’ to the hypnotic intro of ‘Ein Tag Düsseldorf’ and the cult track ‘Zensur & Zensur’. Time was racing by and Male arguably reached their zenith as backup for The Clash on the London Calling tour. As the air raid siren rang out on ‘Ich hör schon die Sirenen’, Kosmo Vinyl (Clash roadie), Joe Strummer and Mick Jones stopped in their tracks to take a closer look at Male on stage. On this memorable night in the Phillipshalle, Male were far more than just a warm-up act . . . In the wake of the name change to Vorsprung, Jürgen Engler soon shifted his focus to Die Krupps, but Male remained close to his heart as new songs and the odd gig here and there demonstrated in the years that followed.” –Wolf Lauenroth (Dieter Zensur)

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Demoncy “Joined In Darkness” (Nuclear War Now!)

2020-03-20T19:44:14+00:00March 19th, 2020|

While the word “evil” is used in nearly every description or review of every metal record, in the case of DEMONCY’s classic Joined in Darkness album, there is simply no more appropriate adjective to describe the sounds within. From the ominous intro track entitled “Hymn to the Ancients” to the melancholic chord progressions of “The Ode to Eternal Darkness,” this album distills evil into its most elemental forms. Joined in Darkness also stands out as one of the comparatively few highly successful albums written and executed by a lone musician. For Demoncy, that musician is the enigmatic entity known as IXITHRA. While the vast majority of “one-man projects” fall limp, there are some, such as Joined in Darkness-era Demoncy, that achieve a sound every bit as powerful as could be attained by a full line up. It could convincingly be argued that the solitary nature of Demoncy lends to the desolate and alien atmosphere that Joined in Darkness evokes. Even the use of a drum machine on this album (before the drum machine became the subject of nearly universal derision) enhances the inhumanly cold feeling of the music. This is representative of Ixithra’s tendency to employ only the simplest tools, but to extract from them their maximum potential. The riffs and song structures, while basic, are executed with precision and exactness. The songwriting evinces a truly visionary ability to piece together instruments and riffs in a masterfully dark manner. Ixithra demonstrates his unique ability to generate fast, low-end minor key melodies that crash suddenly into walls of blackened doom.

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Necrogosto “Ancestral Bestiality” (Nuclear War Now!)

2020-03-20T19:45:04+00:00March 19th, 2020|

With its initial self-titled demo from 2017, NECROGOSTO introduced itself as a cult worthy of the rich Brazilian metal underground that its forefathers had pioneered decades earlier. Recalling the savagery invoked by its fellow countrymen in such fabled bands as Sarcofago, Sextrash, Necrobutcher, and Expulser, Necrogosto proved that it is indeed possible to recapture the sound and spirit of one of the most historically significant scenes to have ever impacted extreme metal. Now, two years later and approximately one year since Nuclear War Now! reissued the demo, the same label and band conspire to bring us Necrogosto’s next atrocity, Ancestral Bestiality, an eight-track MLP that confirms the authenticity in style and sound first displayed on the demo. Like the preceding demo, these new tracks harken back to a particular time and place where the boundaries between the existing subgenres of metal were blurred, making clear distinctions between black and death metal difficult and somewhat futile to discern. Like its inspirations from over thirty years ago, this recording is steeped in both the barbarity of primitive death metal and the evil of first-wave black metal, which in itself shared more characteristics of thrash than its more contemporary offshoot.

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Nox Formulae “Drakon Darshan Satan” (Dark Descent)

2020-03-20T19:45:30+00:00March 19th, 2020|

The Red Black Clan of Nox Formulae returns with their second sonic grimoire of Higher Black Magic, delving deeper into the Draconian Universe and the Shadow Current emanating from the hidden and relatively unexplored realms of the Qlipha of the Concealers, Satariel, Archon of which is the second face of Lucifer, the Mighty King Lucifuge Rofocale. Drakon Darshan Satan is based—music and lyric wise—on the grimoire At The Outskirts Of The Shadow Current: The Dark Initiation, in this lifetime by Daemon Gharrassielh, and all those Dark Traditions offered by the Red Dragon to humanity. This album is a musical outcome of actual experiences that took place both on the physical and spiritual planes during the time years 2015-2019. The Shadow Allies are here, welcome the Arrival of Noctifer.

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Solothus “Realm of Ash and Blood” (20 Buck Spin)

2020-03-20T19:46:17+00:00March 19th, 2020|

Realm Of Ash And Blood, the third album from Finland’s Solothus, drops a dripping broadsword of Cimmerian carnage and staggering death-soaked doom delirium on the scorched landscape from which only mounds of skull dust and obsidian shards shall remain. Making its debut on 20 Buck Spin as a band ideally suited for the label, Solothus’ oppressively heavy mid-paced slaughter maintains a sense of unstoppable momentum even when slowing into the glacial. Yet the land of a thousand lakes has also infused the band with an ear for eerie melodic sorcery and tastefully ripping guitar solos to compliment the riff after riff of hammering granite. Touching upon all things doom the Realm Of Ash And Blood luxuriates in both the somber elegance and pained heaviness of the genre, it’s theatrical virtuosity and crushing simplicity. Solothus have stormed the gate, stained it with blood of pretenders and taken the jeweled throne.

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Warp Chamber “Implements Of Excruciation” (Profound Lore)

2020-03-20T19:47:31+00:00March 19th, 2020|

Pacific Northwest abnormal death metal oddity Warp Chamber create a raw, nightmarish and twisted sonicscape of otherworldly cosmic horror that attends to the likes of the old school Finnish, Swedish, and American death metal scenes, while creating a putrid and celestial atmosphere through its own abominable vision. Their 2018 demo tape Abdication Of The Mind made a big impression, channeling the band through the consciousness of the American death metal underground. Their debut album Implements Of Excruciation will bring awareness to the unit as another singular entity to behold.

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Dio “Angry Machines” (BMG)

2020-03-20T19:50:24+00:00March 19th, 2020|

Dio was an American heavy metal band formed in 1982 and led by vocalist Ronnie James Dio, after he left Black Sabbath with intentions to form a new band with fellow former Black Sabbath member, drummer Vinny Appice. The name Dio was chosen because it made sense from a commercial standpoint, as the name was already well known at that time. The band released ten studio albums and had numerous line-up changes over the years with Ronnie James Dio having been the only constant member. The band has sold more than 10 million copies of albums worldwide.

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Dio “Master Of The Moon” (BMG)

2020-03-20T19:51:03+00:00March 19th, 2020|

Originally released in 2004, Master Of The Moon was the final studio album under the DIO band name and featured the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitar), Jeff Pilson (Bass), & Simon Wright (Drums). LP includes limited edition lenticular LP sized print and 180g vinyl.

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Dio “Killing The Dragon” (BMG)

2020-03-20T19:51:24+00:00March 19th, 2020|

Originally released in 2002 and featuring the line-up of Ronnie James Dio (Vocals), Doug Aldrich (Guitars), Jimmy Bain (Bass), & Simon Wright (Drums). The LP includes a limited edition lenticular LP sized print and 180g vinyl.

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Dio “Magica” (BMG)

2020-03-20T19:51:49+00:00March 19th, 2020|

Originally released in 2000 and featuring the line-up of Ronnie James Dio (Vocals), Craig Goldy (Guitars), Jimmy Bain (Bass), & Simon Wright (Drums) the 2LP set includes a bonus 7” of studio track “Electra” and the CD/digital version features 10 never released before Magica tracks performed on tour in 2001. LP includes limited edition lenticular LP sized art print and on 180g vinyl.

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Myrkur “Folkesange” (Relapse)

2020-03-20T19:54:34+00:00March 19th, 2020|

Amalie Bruun has always paved her own path, challenging underground preconceptions of heavy metal ever since the release of her debut Myrkur EP in 2014. Her first two full-length studio albums, 2015’s M and 2017’s Mareridt, recast black metal in the most personal yet expansive of terms, their blending of Amalie’s Danish folk roots with tempestuous internal struggles breathing new life into a subgenre whose followers can be rigidly possessive.

With the release of her new album, Folkesange, Amalie Bruun has set out to journey into the very heart of the Scandinavian culture that marked her childhood. Folkesange relinquishes black metal for a refined yet far-reaching evocation of traditional folk, combining songs ancient and new to sublimely resonant effect.

After the nightmare-induced visions that wrought themselves throughout Mareridt, Folkesange offers an emotional sanctuary, a means to reconnect to something permanent and nature-aligned. It’s an awareness that’s become deeply bound to the album’s organic, regenerative spirit, from the opening track Ella’s heartbeat, frame-drum percussion and crystalline vocals that become the grounding for a rapt, richly textured awakening, to the gentle carousel of the closing Vinter, with its nostalgia-steeped connotations of seasonal, snowfall-bewitched awe.

Storytelling, rites of passage, and the invocation of a continuity that passes through time and generation are all part of folk music’s tapestry, and Folkesange taps into all these currents in their most essential form. In part a purist’s approach to the genre, free from over-interpretation and fusion, the use of traditional instruments throughout, such as nyckelharpa, lyre, and mandola offer a deeper, more tactile connection to their source, an unbroken line of communication back to the past.

But the album is no museum piece; it resonates in the here and now, aided by the spacious production of Heilung member and musical collaborator Christopher Juul. Cinematic yet intimate, Folkesange exists in a state of boundless reverie, bourne by string-led drones, cyclical, elegiac rhythms and Amalie’s frictionless voice, all carrier signals for deep-rooted, ancestral memories, and associations felt on an elemental level.

An immersive experience in its own right, but also belonging to a wider, pagan folk-based renaissance that has attracted a devoted following worldwide, Folkesange answers a need that has become ever more pressing in turbulent times. A zeroing in on a resonance that is both intrinsic and enduring, it’s a rediscovery of personal grounding, and an experience that reaches beyond culture to remind us of a shared, deeply rooted inheritance. A tuning fork that binds the personal and the universal, Folkesange is a reminder that the most transcendent experiences are those closest to home.

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Various “AK79” (Flying Nun)

2020-03-20T19:55:57+00:00March 19th, 2020|

December 2019 marks the 40 year anniversary of an important record in our lives, AK79. Within the grooves of this historical landmark compilation lies a connection to our musical whakapapa as New Zealanders and music lovers. A defining record, having captured a raw snapshot of the punk subculture in Auckland during the late 70s, this much-loved compilation is a living, breathing statement of what came before today. To mark this very special occassion, Flying Nun Records pays tribute to those ragged and rambunctious years by presenting AK79’s 40th Anniversary Edition Reissue. Featuring new liner notes written by Ripper Records’ Bryan Staff, the reissue will feature all songs ever featured on any version of AK79 for a complete look at its recorded history. About AK79: Raw, unfiltered, shambolic madness. The vision to capture the Auckland scene began with Bryan Staff (Head of Ripper Records and Radio DJ at the time) who saw reason to capture the music coming out of the local punk venues of the time such as Windsor Castle and Zwines.

Originally released by Ripper Records in December 1979, bands that featured on the original pressing included The Swingers, The Scavengers, The Primmers, Proud Scum, Toy Love and The Terrorways. The musical movement captured on record was an abrasive, empowered response to the overindulgent progressive rock and glam era of the 70s. The initial pressing, with its iconic black and white cover designed by Terence Hogan was limited to 500 copies, to be later reissued on vinyl and cassette through CBS. During the 40 years since AK79’s first release, the record took on a life of its own. Those original 500 pressings became a rare and coveted collectors item, and somewhat of an “urban myth” on the vinyl market. So the story goes, when the original master recordings of AK79 were discarded in 1982, it only created further demand for this enigmatic record. Responding to the call, an expanded version of AK79 arose, released on CD by Simon Grigg and Roger Shepherd as a joint release by Propeller Records and Flying Nun Records in 1993. This time there were some late additions, including tracks from The Suburban Reptiles, The Spelling Mistakes, The Features and The Marching Girls, along with additional tracks from the original bands on the first pressing. This particular reissue was remastered and mixed by Grigg, and came bundled with additional liner notes by Grigg, Staff and The Terrorways’ own Kerry Buchanan.

In November 2008, a bootlegged 2 LP version would come to life for a very special reunion gig in Auckland which involved The Scavengers, The Spelling Mistakes and the first performances from The Terrorways and Proud Scum since 1980 in a rare event. At the time, it was sold at the show with unreleased tracks and a 20-page booklet. Six years later, the AK79 compilation was honoured in its many forms with the IMNZ Classic Record award, presented at the Taite Music Prize ceremony. 40 years on, the spirit of the AK79 still packs a punch and the feeling captured in these recordings are as relevant as ever.

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Molchat Doma “S Krysh Nashikh Domov” (Sacred Bones)

2020-03-20T19:57:31+00:00March 19th, 2020|

When С крыш наших домов (S Krysh Nashikh Domov), the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.

The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

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Old Firm Casuals “This Means War” (Pirate Press)

2020-03-13T20:33:43+00:00March 12th, 2020|

Originally released by Oi! the Boat (U.S.A.) and Randale Records (Europe) in 2014, “This Means War” is THE OLD FIRM CASUALS debut LP. This incredible album really showcases the explosive burst onto the scene that this band made – and created something permanent and timeless to show the importance of this band to the world of streetpunk & Oi!.

Taking a few songs from previously released (and highly acclaimed) singles, and elevating them by sandwiching them together with new tracks, this record became a fan favorite quickly.

With its original pressings now out of print, Pirates Press Records is proud to re-issue this integral record, globally, adding a few extra finishing touches in the process.

Two versions are available: gold and silver. The gold vinyl is housed in a jacket printed on gold foil (the “snake“ design), and the silver vinyl is available in a jacket printed on silver foil (the “Wolf” design).

This album also includes the bonus track “Watford Tuxedo“ which appears after the locked groove on the B-side.

Go get ‘em folks – these are truly a ‘must have’ for any punk rock vinyl collector!

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Lowrider “Refractions” (Blues Funeral)

2020-03-13T20:33:44+00:00March 5th, 2020|

“Before Monolord, Graveyard, Greenleaf, and Truckfighters, one band stood at the dawn of Sweden’s Kyuss-inspired desert rock movement. With their groundbreaking debut EP and seminal Ode to Io album, Lowrider spawned thousands of imitators. Now, at long last, the progenitors return with blistering new album Refractions, delivering on their mythic status as founders of a worldwide phenomenon.”

Nick Oliveri ‎”N.O. Hits At Al Vol. 666″ (Heavy Psych Sounds)

2020-03-13T20:33:44+00:00March 5th, 2020|

And here we go with the last of the No. Hits At All series by mister Nick Oliveri. This is the Vol. 666 and it is really juicy. 12 songs taken from the personal stash of the mighty Nick, featuring a lot of artists he played with during these last years. Art by Solomacello — as for the rest of the other ones. Features The Dwarves, Nick Oliveri’s Uncontrollable, Nick Oliveri’s Death Acoustic, The Young Tuffs, Mondo Generator, Blag Dahlia, Virgin Lovers Die, Infected Organ Donors, and Stoner.

Chubby & The Gang ‎”Speed Kills” (Static Shock)

2020-03-13T20:33:45+00:00March 5th, 2020|

Following the sold out 7″ (released by Static Shock Records in the UK and Goner Records in the US, SSR 070EP) and a run of UK shows with Sheer Mag, Chubby & The Gang are here with their debut LP, Speed Kills. Wall-to-wall speedy punk bordering on the recklessness of Motorhead, the single mindedness of The Kids, the streetwise panache of Cockney Rejects, and the occasional curveball pasted in to keep everyone surprised. This LP is timeless vernacular perfection peppered with misleadingly obvious displays of brashness aching their way into the hallways of surprising musical channels. “Can’t Tell Me Nothing” could have been on a Rip Off Records 7″ from 20 years ago, “Trouble” — a love song to Chubby’s one true muse: being naughty — is like an ironed and overdriven Wreckless Eric, “Grenfell Forever” is taken from the empty glass of the Billy Bragg back catalog. All that alongside the sneering eternity of “All Along the Uxbridge Road”, the Hammond Organ smeared “Bruce Grove Bullies” — it will all have you reaching for your London A to Z and trying your hardest not to spill your pint.

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Aeternus ‎” …And So The Night Became” (Soulseller)

2020-03-13T20:33:45+00:00March 5th, 2020|

The classic masterpiece and second Aeternus album of black dark Norwegian metal finally re-issued! Heavily rooted in the classic black metal scene from Bergen, Norway, Aeternus first released their second album “…And so the night became” in 1998. 22 years later the long overdue re-issue is finally presented with the original cover art!
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OXZ ‎”Along Ago: 1981-1989″ (Captured Tracks)

2020-03-13T20:33:48+00:00March 5th, 2020|

The mid ’80s were an exciting time for music in Kansai (Osaka-Kyoto), Japan. There were more stages for bands to play on, more releases by independent labels and a variety of bands playing in different styles. The 80s were also a time when women’s rights in Japan, though a topic of conversation, were not widely visible in the real world. There were very few women in the underground music scene at the time, but none of them dressed like punks or dyed their hair, or outwardly showed much interest in declaring independence from the usual rules. So, in 1981, when Hikko, Mika, and Emiko (aka Chasen-maru) first appeared together as OXZ, they were intentionally shocking.

Nothing happens in a vacuum, however. It was already acceptable for young women to form bands in the safety of their high school music clubs. They generally played cover songs at school events. However, actually stepping out into the dirty world of live houses was for the adventurous and compelled. To do so in OXZ’s overtly provocative, dramatic way was unheard of. Contemporaries of Shonen Knife, OXZ were known for the intensity of their live performances. Releasing their first EP in 1984 – an 8″ EP – their catalog belies their reputation for moody, dark post-punk ahead of its time. The bass and drums dominate; the guitars are angular and spiky – punk, but with something extra. Along Ago: 1981-1989 collects the band’s entire catalog – three EPs and a single – alongside unearthed, unreleased demos.

Then, 1989, it ended as the band went their separate ways. And the name? No one seems to remember how it came about, but it should be noted that in Japan, O means acceptable and X means rejected, so maybe OXZ means “going beyond all usual standards.”

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Funebre “Cranial Torment” (Hammerheart)

2020-03-13T20:33:49+00:00March 5th, 2020|

As they say, Funebre was among the first extreme metal bands in Suomi. They were formed already in 1988 and surely we can put them among the originators of the scene, along with such great names as Abhorrence and Xysma. Sadly they were one of the most shortlived bands also, splitting up already in 1991, just after the release of their legendary debut album “Children Of The Scorn”. Before that Funebre managed to release the “Cranial Torment” demo in 1989.

This is one of the most underrated demo’s ever! Recorded when Death Metal was virtually unknown and only available if you wrote to the band. The over the top bottom heaviness of this is mind blowing. The vocals are straight out of a horror movie and while being self produced the sound quality is actually amazing. It never gets boring or redundant. This is right up there with Winter’s “Into Darkness” and Celtic Frost’s early stuff (and who doesn’t love these god’s). It is the perfect mix of Doom, Death and Speed that takes you straight to hell every time you listen to it!

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Vile “Stench Of The Deceased” (Hammerheart)

2020-03-13T20:33:49+00:00March 5th, 2020|

140 grams black vinyl in a quality 3 mm sleeve with insert in a quality plastic sleeve (we do not seal our new vinyls, we ship/sell them in a plastic sleeve you can keep using). Pure Californian Death-Crush! “Stench of the Deceased” is Vile’s debut full-length from 1999 and offers 8 tracks of pure and raw classic Californian Death Metal!

Vile was well ahead of many of its 21st century Californian brutal death brethren, that state having become somewhat of a mecca for the style in the past 10 years, and they made their mark. With a presence on some of the genre’s better record labels like Unique Leader and Willowtip, there has always been a lot of chatter about them. Vile are talented and balanced and most of their output is on a very skillfully technical level, their songs always partly including their various influences, whether on the Floridian (Death, Morbid Angel, Malevolent Creation) or New York (Suffocation, old Cannibal Corpse) side of the equation. That’s not to imply they aren’t original at it, because they are, and in fact their first three records are all well worth checking out if you’re into the sound.

“Stench of the Deceased” was the band’s self-released debut, with a great Jon Zig cover. Already, after only a few years’ existence, the band had a strong sense of professionalism in how they presented themselves in both songwriting and production. This is not so spit-polished as you will hear in a lot of modern brutal/tech death, but you can really make out everything pretty evenly, from the deep-sprung bass lines to the Corpsegrinder-like belched guttural vocals to the balanced, proficient drumming. The guitars have a load of dynamic range, and there’s ever the slight sense of ‘progression’ in how they composed their tunes. Though there are more than enough balled-fist, lumbering juggernaut rhythms for the anger management sect to get their mosh on, there are plenty of more musical moments, not the least of which are the great, spurious and otherworldly lead guitars.

It doesn’t take a long while for Vile to ‘sell us’ on themselves here, as they exhibition almost the full range of tactical variation on the first tune “Abort (The Fetus)”, and then proceed to mix it up throughout the remaining recording of Stench originals. Lots of Cannibal Corpse-like trilling techniques are implemented, as well as dual grunt/snarl vocal harmonies circa Deicide, and the pacing alternates between up-tempo flurries of thrashing force to prog-death patterns that would not have sounded out of place on Death’s “Human” or Atheist’s “Piece of Mind”. Meanwhile the bass drums continue to batter along like extraction machines burrowing beneath a graveyard, and there’s always a good handful of riffs involved in each particular track that keep it from becoming monotonous.

“Stench of the Deceased” is a well-rounded effort for the Californians’ first time out, and it instantly transformed Vile into a ‘player’ on the post-Suffocation circuit. A mandatory vinyl release for those who collect: old Cannibal Corpse, Deicide, Death, Atheist, Suffocation, Malevolent Creation

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Internal Rot ‎”Grieving Birth” (Iron Lung)

2020-03-13T20:33:49+00:00March 5th, 2020|

Absolutely pulverizing grindcore as lethal as running a marathon in the open desert without any water. There are no tricks, no gimmicks, no pitch shift, no triggers, no psychic surgery, just grind. Do you grind? Because this fucking grinds. Did mention that it grinds. It does. It grinds. A pure record. 250 copies on dark blue vinyl housed in a 24pt jacket with poster and download card included. Art by XAVIER IRVINE, CHRISTOPH WINKLER and VICKY MORALES. Recorded by JASON FULLER, ALEX MCFARLANE and Xavier Irvine. Mastered by MIKEY YOUNG.

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Ruin Lust “Choir Of Babel” (20 Buck Spin)

2020-03-13T20:33:50+00:00March 5th, 2020|

New York’s Ruin Lust have spent the better part of the last decade spreading a drape of black violence across the dank basement corners of the deepest underground. Though temporarily dormant after their debut, the band returned with new music in 2019 with Sacrifice. Now in 2020 the third Ruin Lust atrocity, Choir Of Babel, marks the band’s 20 Buck Spin debut. Thoroughly uncompromising and bestial, Choir Of Babel squanders no time on subtlety, laying waste with barbaric ferocity via a ruthless attack crafted not to disappear in a blur of forgettable noise but devastate with jagged menace and complexity. Visions of blood, red bodies in mass graves, piles of broken skulls and decimated fields strewn with carrion pervades the war-like stench of death conducting this primal choir.  Whether called death metal, black metal, war metal or something else, the suffocating savagery of Ruin Lust has no remorse for destruction left in its wake, only more cruelty.

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Various Artists “We Were Living In Cincinnati – Punk And Underground Sounds From Ohio’s Queen City (1975-1982)” (Hozac)

2020-03-13T20:33:50+00:00March 5th, 2020|

While the more famous punk parties were going full swing in Warholian New York, press-savvy London, glittery LA, and other big towns, the early scenes in Ohio’s cities were toughing it out on their own. Instead of being courted with major-label deals, their handfuls of brave bands were mostly ignored, ridiculed, and physically threatened within their surrounding hostile environments. And although the pioneering activities in Cleveland and Akron have been well documented through several compilations, the early action in southern Ohio’s largest city has not—until now. Tirelessly compiled, annotated, researched, and produced by punk historian, author, and musician PETER AARON (the Chrome Cranks, Young Skulls) and co-released by HoZac Records and Shake It! Records’ Music from Ohio series, We Were Living in Cincinnati rounds up rare, raw tracks (18 on vinyl LP plus 15 bonus download-only cuts) by 21 of the town’s toughest, coolest punk and new wave outfits, several of them sourced from unheard tapes by acts who never released records in their day. Includes a tri-fold poster.

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Shrinebuilder “Shrinebuilder” (Neurot)

2020-03-13T20:33:50+00:00March 5th, 2020|

It’s not so much a band name as a statement of intent. Not a one-off supergroup, but rather the first chapter in what promises to be an epic narrative. More to the point, though–Shrinebuilder is the meeting of musical monoliths, the Justice League of underground heaviness: Scott “Wino” Weinrich of Saint Vitus, The Obsessed, Spirit Caravan, and The Hidden Hand on guitar; Al Cisneros of Om and Sleep on bass; Dale Crover of Melvins and Altamont on drums; Scott Kelly of Neurosis on guitar. And all four of them on vocals. With these four living legends in the room, the term “highly anticipated” doesn’t even come close.  Recorded in just three days, a sufficiently superhuman time-frame for a group of musicians who often pass for superhuman themselves in certain circles, Shrinebuilder delivers on the tacit promise of a riff-roaring Wino + Neurosis + Om + Melvins power-psych explosion, but it also delivers a sum that no one anticipated. “It’s like a crazy experiment that actually worked,” Crover enthuses. “I don’t think we could have asked for something better.”  “It’s one of those things that I would have never thought of or dreamed of,” Kelly concludes. “It doesn’t always sound like a collaboration between members of these four bands. There’s something else that happens within that structure. It’s about music as a religion, as a belief system, as a means of communication–and in the end I think the music speaks for itself. I’ve already listened to this project more than any other project I’ve ever worked on. I listen to it, and I listen to it loud.

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Sonny Vincent ‎”Diamond Distance & Liquid Fury- Sonny Vincent: Primitive 1969-1976″ (Hozac)

2020-03-13T20:33:50+00:00March 5th, 2020|

“‘Sonny Vincent is a true punk pioneer, we all know that already. But did you know how deep this man’s well of punk madness really goes?’ Well, I guess it’s taken seven long years since we made that statement, but luckily, here we are with a full LP’s worth of those recordings we’d wondered about, providing a pivotal glimpse into one of NYC’s most shadowy figures of the underground. It’s almost incredulous that his rock’n roll lineage goes back this far, with his first recording made while home on leave from the Vietnam War, and yet he was still a part of the first wave of ’70s Punk. If you remember the FURY 7” we released, along with THIS massive interview, it was apparent that there was more to dig up, and luckily our engineer was able to shine up these riveting primitive proto-punk monsters into reality. Distance were in a primordial heavy psych state on their earliest recording here from 1969, but the VOICE that you know so well is already in place, and cuts through the foggy throb like a knife’s edge. Distance was Sonny’s first active band, and were known to have opened for The Dogs & Suicide in 1973, as per the two incredible handmade flyers included on the back cover, and as the liner notes can attest, provided a real-life slice of shock-rock insanity.”

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Ceramic Hello “The Absence Of A Canary” (Ice Machine)

2020-03-13T20:34:07+00:00February 29th, 2020|

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020, debuting with this new vinyl reissue of Ceramic Hello’s 1981 minimal synth classic “The Absence Of A Canary.”

A long-time cult favourite among fans of obscure ’80s synth-pop, this LP remains highly sought-after, and is rated as one of the genre’s top 20 records ever made by Minimal Wave label head Veronica Vasicka, who calls it “a beautiful record, inside and out.”  This is our 2nd edition of the LP — it was previously reissued on Suction Records in 2002, but even that reissue is now long sold out, and the interest in this strange, utterly unique DIY time-capsule has not subsided in the least. The reissue was transferred and painstakingly remastered from perhaps the last sealed copy of the original 1981 LP in existence. We are proud to make this Canadian synth classic available again.

Ceramic Hello hailed from Burlington Ontario, about an hour outside of Toronto, and comprised of Brett Wickens, who composed and performed the more synth-pop-oriented songs on the LP, with clear nods to early-Ultravox and OMD, plus Roger Humphries, who contributed the album’s otherwordly, classically-informed synth interludes. Shortly after the 1981 release of the LP, Wickens moved to the UK to work for legendary Factory Records-associated design firm Peter Saville Associates, where he created iconic LP covers for the likes of New Order, Joy Division, and Peter Gabriel. The Absence Of A Canary’s striking cover, an eerie silver-faced enigma, was Wickens’ first LP design and has become iconic in its own right — an enduring signpost in the minimal synth underground.

The LP contains 14 songs, and is housed in a recreation of the original silver jacket, with an insert/poster + 4-page-lyric-sheet and equipment list (a reproduction – this was originally available by mailing to Ceramic Hello in 1981 – scarce few copies exist and we were finally able to obtain a scan for this new pressing!).

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