Reissue of 500 copies on gold vinyl of debut album by Finland’s Death Hawks. They have a virtual monopoly in music influenced by sounds from the bygone days when the idealistic highs of the late ’60s started to lose altitude, the music moving correspondingly from the sweet harmonies of Crosby, Stills and Nash towards the arena-humping heaviness of Led Zeppelin, Black Sabbath et al. (…) yet everything on ‘Death & Decay’ eventually winds up sounding exactly, unmistakably like Death Hawks.
Reissue of 500 copies on clear/black vinyl of relentless psychedelic rock group Death Hawks’ self-titled second album. It is a blend of ’70s kraut rock and psychedelia. A stream of consciousness where intoxicating shamanistic rhythms meet cool, minimal saxophone, raw guitar shredding and intriguing, elegant keyboard patterns.
One of the rarest albums on the infamous Jazz label Strata-East from 1977 and it’s a spiritual soul jazz masterpiece. Sonelius Smith’s free piano comes together with Shamek Farrah’s heartfelt saxophone for a totally unforgettable journey into the meaning of sacred jazz. Fresh and imaginative, but not too improvisational. Rhapsodic but never over-indulgent and with a raucous, bold groove that’s in the real classic Strata-East mold. Playful and wild but beautiful and confident and with a swagger and expertly crafted finesse that lets this record sit alongside the very classics of the era as a forgotten gem. One of the tracks of note on this LP is the 10 minute epic Latin jazz feast ‘World Of The Children’, but the entire album is a top class work that will now be infinitely enjoyable for generations to come. Limited to 500 copies on black vinyl.
Repress on gold vinyl. Formed in 1968, Wigwam recorded ‘Tombstone Valentine’ in 1970 at Finnvox studios, Helsinki. The album was produced by the infamous Kim Fowley and was a wonderful collection of highly original material such as the album title track and compositions like ‘Wishful Thinker’, ‘1936 Lost In The Snow’ and ‘For America’.
This extreme rarity from Finland is the only record FANTASIA ever made. Originally released on Hi-Hat Records in 1975 and produced by Wigwam drummer Ronnie Österberg and Mikael Wiik, the album sounds a bit like mid-’70s Wigwam, albeit more progressive and psychedelic. The album opens with the lengthy track ‘Pilvien Takaa’, which perfectly introduces Fantasia’s dreamy, fantasy-like prog, aiming to send your imagination on a trip across momentary landscapes. This record contains the group’s entire recorded legacy. Limited to 300 copies on BLACK VINYL.
Limited to 300 copies on BLACK vinyl. A reissue of a fine instrumental album -with crisp production- by a late ’70s progressive fusion band from Finland. Influences include Camel, fusion stars such as Jean-Luc Ponty and Billy Cobham, and guitar wizards like Jeff Beck and Al DiMeola.
This luxurious set features the classic death metal album World Without God in a band-approved, remastered edition. The second disc has the cult demo Resuscitation of Evilness in a similarly remastered edition with the original cassette artwork.With liner notes by Luxi Lahtinen.
This album, already a doom metal cult classic, saw Albert Witchfinder join forces with Finland’s most ancient metal band and breathe new, heavy life into the genre. Difficult to find on disc for years, this official reissue has been inspected and revamped by the hand of Mr Witchfinder himself.
Reissue of 1969 album by The Damnation Of Adam Blessing, led by charismatic vocalist Bill Constable (aka Adam Blessing). They were an extraordinary band, able to go head-to-head with their more illustrious counterparts. The sound is equal parts psychedelic rock, hard rock, garage and blues. This reissue preserves the original artwork and comes with new liner notes.
Watching From A Distance (2006), Warning’s second and so far last album, is already a cult classic, an album that successfully broke the conventions and confines of the Doom Metal genre.
“I’m relieved and happy to finally see the first official vinyl re-release of Watching from a Distance. With its improved cover art and layout, full lyrics and liner notes, this is the definitive edition of the album and I’m proud to have been able to work on it together with Svart Records.”
“I think what I resisted initially was that the album seemed like an open-wound – an antithesis to the maleness of most traditional metal, or at the very least the latent aggression most metal was potent with, yet also free from the swords-and-sorcery of traditional doom… It wasn’t laden with abstraction or concerned with seeking escape. In fact it was the opposite, introspective in almost diary form, at times even uncomfortable. Yet over time its vulnerability was revealed as its greatest strength.”
Alan Averill (Primordial)
Prepared in co-operation with the band, these are the definitive editions of Warning on vinyl.
The band’s 1999 debut full length after two successful demo tapes (Revelation Looms and Blessed by the Sabbath, released on the Svart LP ‘The Demo Tapes’) caused big waves in the then-small underground Doom Metal scene and was a harbinger of things to come further down the road.
The Svart vinyl edition is the first time the original Stephen O’Malley artwork is used after the original CD release. Audio is specially mastered for vinyl at Orgone Studios and lathe cutting is done at Timmion Cutting.
This authorised reissue of Finnforest’s debut album, originally released on Love Records in 1975. Features
extensive liner notes by Arttu Seppänen.
When Finnforest recorded their debut album, the Tegelman brothers were 17 years old. The band had shrunk into a trio after the singer Aaro Mustonen and the bassist Jarmo Hiekkala had left the band in 1973. The core trio remained:
Pekka Tegelman (electric and acoustic guitars, electric bass) Jukka Rissanen (organ, electric piano, Arp Odyssey synthesizer) and Jussi Tegelman (drums). Due to the lack of the bassist, Pekka Tegelman played the bass in couple of the songs and rest of the basslines were played by Rissanen using his organ. Pekka Tegelman expressed his satisfaction with the solution in an interview published by Selvis magazine: “I’m glad that the record doesn’t have the Pekka Pohjola
horse-racing bass comping that was a typical feature in Finnish prog of the era”.
It’s amazing how diverse and intense music they recorded with such a stripped-down lineup: it’s dynamic and rich in texture. The album is yet another fine example of a professional, original and convincing record in the
Finnish progressive rock canon. The trio plays together extremely well – like confident, experienced session musicians. However this was the first time the three youngsters played in a proper recording studio. Love Records couldn’t afford to send all of their bands to record at the more expensive (but also more advanced) Marcus Music Studios in Stockholm but Finnforest immediately got the opportunity to record their debut there – instead of a more cheaper and less-advanced Finnish studio like the Finnvox in Helsinki or the Microvox in Lahti. This was a big compliment from the label
and showed that they had faith in the material.
Bang’s sophomore album, 1972’s Mother/Bow to the King, probably raised quite a few eyebrows in its day based on its curious cover art alone (is that “mother” herself serving the band a very large pie, and is that one dude wearing a cape?), but it was likely the two-for-one title intended to represent each of its vinyl sides that was most revealing of the young band’s impending crisis of artistic direction. Until recently, the Philadelphia natives had been just another inexperienced power trio aspiring to become the next Cream, Mountain, or Grand Funk Railroad; then they were plucked out of obscurity by the latter band’s parent label, Capitol Records, and asked to deliver in kind, so one can only imagine the sort of pressure and uncertainty tormenting the members of Bang once their first LP failed to set the world on fire. All that being said and notwithstanding the unnecessary sacking of drummer Tony Diorio, there was nevertheless a lot of musical continuity between that debut and the sophomore Mother/Bow to the King, both halves of which were still dominated by high-energy proto-metal exercises like “Humble,” “Idealist Realist,” and “Feel the Hurt,” among others. The folky handclaps of “Mother,” the funky guitar of “Keep On,” and the proggy ambitions of “Bow to the King” showcased the band’s broadening songwriting interests in a positive light; but it was Capitol’s insistence that Bang cover the Guess Who’s “No Sugar Tonight” (which needless to say stuck out like a sore thumb) that told the real and rather unhappy story behind these sessions — a sign of bigger problems yet to come. For the moment, however, Bang seemed willing and able enough to tackle these various setbacks and compromises in the interest of developing its career for the long haul. Circumstances would sadly quickly scuttle any chance for them to achieve those long-term goals, but at least for the moment, Mother/Bow to the King saw Bang churning out a decent amount of fledgling heavy rock with which to gain a few new fans.