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Common Courtesy is the fifth album from A Day to Remember and is reissued on both CD and double LP vinyl for the first time since 2016. Since its initial release in 2013 Common Courtesy has gone on to amass over 500k in total consumption and includes some of the bands biggest hits including Right Back At it Again and Sometimes You're the Hammer, Sometimes You're the Nail. Over the course of the past several years, each of A Day To Remember's releases have hit No. 1 on Billboard's Rock, Indie and/ or Alternative Charts, they've sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold- selling albums and singles (and one silver album in the UK) and sold out entire continental tours, amassing a global fanbase whose members number in the millions. Deluxe Edition, Limited Edition, Reissue, Yellow Inside Milky Clear. (Epitaph Records/Epitaph Europe – 05235521) -
A Storm Of Light are New York-based metal alchemists, featuring former NEUROSIS visual master Josh Graham. Kim Thayil (SOUNDGARDEN) lends guitar on several tracks. On this release the band ditched the heavy rock elements of its previous release in favour of influences of f.i. Killing Joke, Bad Brains, Metallica and Crash Worship. This approach brings back the intensity of 'Black Ocean', but with the speed and precision that reminds of the band's metal influences. While there still are a couple of slower/sludgy tunes, some songs are twice as fast as the older material. Comments STORM founding guitarist/vocalist Josh Graham “These songs are much more focused. Even the more ‘epic’ songs are shorter but still accomplish the same journey as the longer songs used to. We’ve ditched the rock elements of the last record and let our early influences of Killing Joke, Bad Brains, Metallica and Crash Worship seep in. We are bringing back the intensity of Black Ocean but with the speed and precision ore akin to our metal influences. While there are still some slower/sludgy tunes, some songs are twice as fast as the older material.” (Southern Lord Records)
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ABSENT IN BODY make their Relapse Records debut with the terrifying new album Plague God. Featuring current and former members of AMENRA, NEUROSIS, and SEPULTURA, Plague God is bound by the same ideals of unity and fearlessly uncompromising honesty of expression that have driven their respective bands to imperious heights of reverence and groundbreaking sonic deliverance. Plague God is by turns devastating and sublime, drawn from musicians for whom life and art are inextricably bound. Initially the brainchild of AMENRA guitarist Mathieu J. Vandekerckhove, and NEUROSIS vocalist/guitarist Scott Kelly, ABSENT IN BODY formed in 2017. Immediately recognizing their kinship, and with AMENRA frontman Colin H. Van Eeckhout brought in on vocals and bass, what emerged is a reflection of the intervening years of turbulence, extending it's scope as it navigates across five stretches of unstable terrain. From the opening Rise From Ruins with Sepultura drummer, Iggor Cavelera’s tribal beat emerging from foreboding, near-subsonic oscillations to explode in a tide of corrosive riffs and feral howls, through Sarin’s steadfast, procession-through-purgatory groove, to The Half Rising Man’s matrix of organic/mechanic evolution, it’s an album in constant dialogue between the animalistic, the human and the industrial, and a hunger to distill a truth, something unpolluted from the fray. Plague God doesn’t just give voice to these moments of truth, but in the band’s deep kinship integral to every claustrophobic judder, every stretch of atmospheric dread and helpless alias assumed, lies a freedom we both forget and attain at our peril. (Relapse Records)
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Balls to the wall represent one of the peaks of the German metal band Accept. Mind-blowing chord progressions and stylish solos mark the music on this record. The ten tracks are all unforgettable in their own way, most memorable is the title song and the clip they created to this track. The album was released during the golden age of metal and it established the band as one of the heaviest and most important bands of their time. Balls to the wall even charted in the Billboard 200 list. Accept is a German heavy metal band from the town of Solingen, originally assembled by former vocalist Udo Dirkschneider, guitarist Wolf Hoffmann and bassist Peter Baltes. Their beginnings can be traced back to the late '60s. The band played an important role in the development of speed and thrash metal, being part of the German heavy metal scene, which emerged in the early to mid-80s. The package includes a 4-page booklet. 180-gram audiophile vinyl 4-page booklet with band picture and lyrics Legendary 1983 cult album feat. "Balls to the Wall", "Love Child" and "London Leatherboys" (Music On Vinyl)
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The German heavy metal giants Accept released their accessible sixth studio album Metal Heart in 1985. It marked the return of guitarist Jörg Fischer and the album contains some of their classic songs, such as Metal Heart" and "Living for Tonite". It's a work of pure metal greatness and it got everything you expect from the band. To crack the American market they added catchier choruses and melodies to the music, but they didn't hold back on any of their powerful metal music. The album is overwhelmingly well-produced and performed, and containing brilliant strokes of songwriting genius along with catchy, memorable themes. 180 gram audiophile vinyl Insert "Metal Heart" and "Living for Tonite" (Music On Vinyl)
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After reissuing Colombian underground milestones such as Blasfemia, Restos De Tragedia and the iconic “Estamos en la sima” compilation, F.O.A.D. is back to digging into the obscure roots of the legendary Ultra Metal scene born in Medellín in the mid ’80s. This time it’s the turn of AGRESSOR, a pioneering, extremely raw unit delivering the ugly, barbaric sounds that were peculiar to that area and were portraying a nightmarish reality of crimes, drugs and misery. As some say “It’s not Metal, it’s not Hardcore… it’s ULTRA METAL“. Double LP anthology collecting all their 80’s recordings, consisting of: “Ensayo 1986” (early demo), recordings for “Rodrigo D. No Futuro” (1987), complete session at “Estudio Tiempos Modernos” (1987), live at Aeropuerto “Olaya Herrera“, 1987. Gatefold sleeve with rare photos, flyers and a detailed history (in Spanish and English) written in collaboration with the band’s guitarist Antonio Guerrero, explaining how – with the shittiest equipment and instruments – he managed to achieve that crude primitive sound that characterized not only Agressor but also other bands he was in (Sacrilegio and Masacre) and inspired hordes of death thrashin’ maniacs all over the world. Sheer caveman brutality channelled through the rawest Metal ever created! Black vinyl limited to 200. (F.O.A.D. Records)
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Diehard splatter red on milky clear vinyl limited to 100. After reissuing Colombian underground milestones such as Blasfemia, Restos De Tragedia and the iconic “Estamos en la sima” compilation, F.O.A.D. is back to digging into the obscure roots of the legendary Ultra Metal scene born in Medellín in the mid ’80s. This time it’s the turn of AGRESSOR, a pioneering, extremely raw unit delivering the ugly, barbaric sounds that were peculiar to that area and were portraying a nightmarish reality of crimes, drugs and misery. As some say “It’s not Metal, it’s not Hardcore… it’s ULTRA METAL“. Double LP anthology collecting all their 80’s recordings, consisting of: “Ensayo 1986” (early demo), recordings for “Rodrigo D. No Futuro” (1987), complete session at “Estudio Tiempos Modernos” (1987), live at Aeropuerto “Olaya Herrera“, 1987. Gatefold sleeve with rare photos, flyers and a detailed history (in Spanish and English) written in collaboration with the band’s guitarist Antonio Guerrero, explaining how – with the shittiest equipment and instruments – he managed to achieve that crude primitive sound that characterized not only Agressor but also other bands he was in (Sacrilegio and Masacre) and inspired hordes of death thrashin’ maniacs all over the world. Sheer caveman brutality channelled through the rawest Metal ever created! (F.O.A.D. Records)
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REPRESSED! Their "demo" cd hit me by surprise and I really couldn't refuse to put this out! These folks come from Gothenburg in lovely Sweden and deliver the goods! The demo (minus 1 song though) that you'll find on this black piece of vinyl hold 4 times thundering death and black metal soaked doom, with hints of crust, as well as atmospheric and epic darkness. The guitars range from devastating heaviness to gloomy acoustic sections, with piercing leads that flash through the darkness every now and then. If you've ever wanted to know exactly how your favourite metal, crust, and doom bands would have sounded like if they were one band this is where you should turn. I won't namedrop anything, just ask you to take me on my word that you really need to check this out if you've been even the slightest intrigued with what's written above. Even though I could drop many influential names, as well as list several of your favourite Swedish crustcore bands in the "members of" department. (Kleister) (Skuld Records)
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The wait was long, but now it's ready! A dignified follow-up of their first album! An intense Dolp from this dark crust band from Gothenburg. I haven't really enough words to describe this brutal yet twisted attack on my eardrums. Eight songs in just over 72 minutes(!) of death and blackmetal gloom with a healthy dose of crust punk influences leaving me speechless. The Double Lp comes in a beautiful gatefold with a foldout insert. CD version is being released in the US by Profane Existence. (Skuld Records)
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Agrimonia’s sound could be described as the bastard child of the epic, bittersweet sounds of bands like Counterblast and Neurosis, together with the simplicity and murk of bands like Bolt Thrower and Bathory. Thundering death and black metal soaked doom, with hints of crust, as well as atmospheric and epic darkness. The guitars range from devastating heaviness to gloomy acoustic sections, with piercing leads that flash through the darkness "Rites of Separation" was recorded at Studio Fredman in Sweden by Fredrik Nordstrom in the winter of 2012/2013. (Southern Lord Records)
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In 1982, the band currently known as Alien Force started playing music under the name Zeyking. The band was started by the two brothers Henrik Rasmussen (guitar) and Michael Rasmussen (drums) and the style was already then classic heavy metal. Together with Peter Svale Andersen (vocals) and Michael Østerfelt, (bass) Zeyking released the single “Get It Out”. In 1985 the band changed its name to Alien Force and with a record deal with Telaeg Records, released their first LP “Hell And High Water”. The record is nowadays a classic in the NWOBHM underground, being reprinted several times. Tracks from the record are still used for the live concerts the band plays. In 1986 Alien Force released their second LP “Pain And Pleasure” via their own record company Alien Records, since their previous label had close. This was regarded as yet another classic of the genre and much trafficked since then, in all its physical forms. High Roller Records, black vinyl, ltd 200, insert, transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY. Label High Roller Barcode: 4251267714353
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Alice in Hell is the debut album by the Canadian thrash metal band Annihilator. This influential piece is considered one of the essential metal albums from the late Eighties. Frontman and allrounder Jeff Waters created some of his most inspiring guitar riffs. The track “Human Insecticide” features high-speed riffs and is based on the movie classic Papillon. Alice in Hell is the technically playground in which the band reached some of their highest grounds. Alice In Hell is available as a limited edition of 3500 individually numbered copies on translucent red coloured vinyl and includes an insert. 180 gram audiophile vinyl Including insert Featuring the single “Word Salad” and popular tracks “Alice In Hell” and “Crystal Ann” a.o. Limited edition of 3500 individually numbered copies on translucent red coloured vinyl (Music On Vnyl)
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Live at Irvine Meadows Amphitheatre, Irvine, CA, USA on October 19, 1991 from the Bring the Noise Tour. TRACKLIST SIDE A 1 N.F.L. 2 Indians 3 Keep It In The ... 4 A.I.R. 5 Antisocial SIDE B 6 Parasite 7 Caught In A Mosh 8 Too Much Posse 9 Bring The Noise Label: Dear Boss Barcode: 0637913202100
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A concept of ultimate finality doused in cosmological inevitability. A sound of world-building/destroying immensity shrouded in otherworldly dissonance and suffocating atmospherics. Visions of eons ahead, evoking the ultimate fate of matter and as such of existence. All this is the “Abyssgazer”, the immense debut album by Italian atmospheric post-death/doom metal oracle Aphotic. The four piece from northern Italy which features current and past members of bands like Fuoco Fatuo, Blasphemer, and Ekpyrosis, has set out to create the ultimate extreme metal clairvoyance into the death of our universe, through an audio, visual and conceptual experience of unparalleled evocative power. According to the eschatological tale and astrophysical prediction, the most absolute Omega possibly conceivable will materialize as aeons ahead, on timescales almost impossible to imagine, an inexorably inflating universe made only of exhausted and degenerate stellar remnants will reap apart the fabric of spacetime itself until matter will start decaying, and even every black hole singularity will be evaporated, due to quantum effects, into radiation emanating in nothingness. And so, as maximum entropy will be reached, time will become meaningless. In this frame, the album title-track reflects on how, in remote times and places, inert matter can shape into living beings, then evolve into sentient creatures who might become able to stare into the unknown and wonder about the true nature of time and space – by gazing into the abyss. The Abyssgazers, will become the self-consciousness of the Universe. Then come the medium: dark, imposing, colossal atmospheric death metal to disintegrate the fabric of perception, reality, and time itself, and to soundtrack the universe’s last vision and final breath. A nebulous, churning cosmic abyss evoking the destruction of worlds through masterful sonic synthesis: the necromancing twisted dark death metal of Incantation and Immolation, the expansive and morphing storytelling of Triptykon, Neurosis, Evoken and Bolzer, and the suffocating coldness and dissonance of Godflesh. And finally, the visuals by Chilean abstract painter Rodrigo Pereira: an otherworldly vision unto the abyss sealing this eschatological journey towards the eons to come. Analog mixing meticulously crafted under the expertise of audio engineer Greg Chandler from Esoteric (Priory Recording Studios, UK) and mastering by Colin Marston from Gorguts etc. (The Thousand Caves Studio, NYC), complete an unheralded debut album of immense, imaginative, consciousness-expanding avant-garde death metal crafted to glorify and reimagine the immensity and inevitability of death far beyond this carnal plain. Label: Nuclear Winter Records
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“Ancestral Cult” is the amazing second full-length studio album by the brand new atmospheric black metal phenomenon, the Berlin-based band Arde, but with important roots in the Spanish metal scene, featuring members from bands like the mighty Ancient Emblem or Death Above... To find some references in this genre is so easy, you only have to name bands like Wolves in the Throne Room, Fen or Wodensthrone... but there is something distinctive in the music Arde plays which makes it absolutely different and exceptional, call it anger, call it wrath, maybe call it frustration or just simply disappointment... the truth is that you will not find easy or hopeful tunes here, but the fury and passion of a band that, literally, is exploding from the inside out like a newborn star... (Alerta Antifascista Records)
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Considering that The Saga of Nemesis came out in April 1986, meaning just about three months after Assassin´s debut demo Holy Terror, the group had taken a big leap forward – not least regarding its production values, making the four songs plus intro an abrasion-proof set of thrash from a time when the German scene was maturing at a frantic pace. High Roller Records, 2nd pressing, black vinyl, ltd 200, insert printed on uncoated paper, 350gsm cover with inside out print, Original tape transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in August 2020. (High Roller Records)
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THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS. “Absolutely brilliant. "Morbidity Triumphant" is definitely one of the year's best death metal albums” - Blabbermouth Since first bursting onto the death metal scene with the now genre classic ‘Severed Survival’ back in 1989, and following up with the equally revered ‘Mental Funeral’ album, the influential US quartet has carved an unwavering legacy over three decades as masters and purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014’s ‘Tourniquets, Hacksaws and Graves’ with ‘Morbidity Triumphant’; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency. ‘Morbidity Triumphant’, the band’s eighth album, is truly a dark delight for seasoned and new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date. The driving force of Autopsy as ever is the virtuoso guitar pairing of Eric Cutler and Danny Coralles, effortlessly trading off their schizophrenic leads and switching from all-out death metal madness to groove-laden heavy doom, with unmistakable drum/vocal legend Chris Reifert being master of proceedings, spewing his own infinitely creative maniacal musings. ‘Morbidity Triumphant’ also notably marks the first album to feature new bassist Greg Wilkinson, currently also seen in Static Abyss along with Chris. ‘Morbidity Triumphant’ was recorded at Opus Studios, with long-associated engineer Adam Munoz at the helm. Mastering was completed by Ken Lee. The cover artwork appears courtesy of Wes Benscoter (Slayer, Bloodbath), with a new work of twisted and sinister genius. Autopsy will be supporting ‘Morbidity Triumphant’ with a series of dates throughout the remainder of 2022. (Peaceville Records)
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Axegrinder’s influential Crust Thrash Metal release from 1988 available on vinyl with its original artwork. Rise of the Serpent Men was recorded at Lion Studios in Leeds in 1988 and released the same year. Axegrinder’s strong AMEBIX-like grind sensibility appealed to Punks and Metal-Heads alike, and the band's first and only album Rise of the Serpent Men featured artwork contributions created by Jeff Walker (of UK Metal masters Carcass). The band has gained a strong cult following in countries such as Japan over the years and has lately seen a new period of activity, with a studio album in the offing, along with plans for extensive live work. This 2017 vinyl edition of ‘Rise of the Serpent Men’ marks 30 years of Peaceville and is released as part of the early classics selection to commemorate the occasion. (Peaceville Records)
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Rare tracks from 1983-1987. Unreleased songs, compilation tracks, cover versions. (Fan Club/Unofficial Release)
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"Pandemonic Incantations" is the third studio album by Polish extreme metal band Behemoth, originally released in 1998. 1998 was an extremely important year the history of Behemoth. Inferno joined the band as a full-time drummer, bringing a whole new power and fury to the music with his incredible skills, while main man Nergal’s songwriting began the change from black metal to death metal while still combining elements of both. All of it coalesced into one foul monster of an album, PANDEMONIC INCANTATIONS. MARKETING & PROMOTION / SELLING POINTS • "Pandemonic Incantations" is the third studio album by Polish extreme metal band Behemoth, originally released in 1998. • 1998 was the year Inferno joined the band as a full-time drummer, bringing a whole new power and fury to the music. • Nergal’s songwriting began the change from black metal to death metal while still combining elements of both, all of it coalesced into one foul monster of an album. • For fans of Belphegor, Vader Deicide and Morbid Angel. (Back on Black Records)
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Dark death metal band hailing from Adelaide in South Australia. Spawned originally in 1995, BMD play an aggressive, destructive, dark style of death metal. Fast, heavy, savage and powerful, shredding solos and at times incorporating a dark atmospheric synth element. Their 2008 debut album, incredible atmospheric brutal and Dark Death Metal. First time on vinyl with new artwork, limited to only 300 copies! (Nuclear Winter Records)
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Since their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The same principles are the starting point for the new album and in the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic. . (Southern Lord Records)
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Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of BIG | BRAVE’s precise, rhythmical sound. On their new album VITAL, the recording features the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band comments, “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.” Lyrically, VITAL explores the weight of race and gender, endurance and navigating other people’s behaviors, observation and protest. The band further commented “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while exploring individual worth within this reality.” On VITAL, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey in sonic exploration”. (Southern Lord Records)
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Black Pyramid play doom with the rumbling down-tuned tones of stoner metal gods, but with the epic arrangements of old school metal and doom acts. Add to the sonic brew perfectly executed forays into vintage psych and progressive rock, along with the apocalyptic lyrical ravings about war, the occult, and general alienation, and you’ve got an accurate picture of what the band is all about. Labyrinth of Thoughts records reissued band’s second album “II”, an exiled masterpiece of the metal scene. The final recording with their classic line up (Beresky – Gein – Neely). It was originally released via MeteorCity in 2012. Limited vinyl edition of 300 numbered copies on curacao color. (Labyrinth Of Thoughts)
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'Black Sabbath' is the eponymous debut studio album by Black Sabbath. Released in 1970, Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution - the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots. 180 gram vinyl. (Sanctuary Records/BMG/2020)
