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.
Paul Chain has long been known for his improvisational eccentricities, aggressive nightmarish doom, and moody atmospheric meanderings. Since its release in 1988, the ‘Ash’ EP has been considered a masterpiece of thrash and total doom.
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.
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.
‘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.
“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
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.
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.
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)
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.
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.
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.
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.
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.
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.
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.
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!
“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.”
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.
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.
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.”
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!
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
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.