• MARTHE is the solo project of Marzia, worldwide known for being Horror Vacui's guitar player and for drumming in Kontatto, Tuono, Campus Sterminii, Death From Above, Doxie and countless other bands. Between one practice and another with the aforementioned bands, she found the time to sit down by herself and record the tunes that became the "Sisters Of Darkness" demo tape, self-released a year ago and then repressed on tape by Caligari Records (USA). I'm personally not too much into metal, but the four songs on this demo blew my minds and I think they deserve to be released on vinyl too. Fans of Bathory's second wave will love this one so much that Marzia will be crowned as the Queen of Valkyrian Metal. Everything on this record has been written, performed and mixed by Marzia. Mastered by Jack Control at Enormous Door . Limited to 300 hand numbered copies on Ivory White Colored Vinyl, the first 100 will come with a nice embroidered patch. Label: Agipunk Records
  • DISCIPLE B.C. Purveyors of Heavy-Horror-Crust, led by the mysterious Reverend Schnider & featuring members of DOOM & AGNOSY, are here to deliver some D-Beat Blasphemy! Disciple B.C. has been described as “Jello Biafra fronting Motorhead” & like “Dave Vanian singing with Bathory playing Anti Cimex songs”. Either way… Expect BLOOD! Expect POWER! Expect SACRIFICE! Label: Agipunk
  • SLEEP | vol 2 (demos) | LP

    19.00 incl. tax
    Unofficial fanclub release of Sleep's Vol 2 plus a live set from Gilman Street. Tracklist: Vol 2 A1 Lord Of This World A2 The Druid / Nain's Baptism Live At Gilman St. 10/01/92 A3 From Beyond A4 Evil Gypsy B1 Dragonaut B2 Sonic Titan B3 The Suffering B4 Nain's Baptism Label: Fanclub
  • Includes all the extra tracks from the European and Japanese editions. Tracklist A1 Disintegration / Free Money A2 Verbal Abuse / Leeches A3 Abolish Government / Superficial Love A4 Can't Stand You A5 Ddamm (Drunk Drivers Against Mad Mothers) A6 Guilty Of Being White A7 I Hate You A8 Filler / I Don't Want To Hear It B1 Spiritual Law B2 Sick Boy B3 Mr. Freeze B4 Violent Pacification B5 Memories Of Tomorrow B6 Richard Hung Himself B7 I'm Gonna Be Your God (I Wanna Be Your Dog) B8 Gemini Label: Mortal Shock
  • This album compiles three complete Peel Sessions. Absolutely crushing performances all the way through. This is the only recording of the track "Domination." The intro of the song was later used for "Prophet of Hatred." LP on heavy black vinyl. Tracks 1-4 Recorded 03-01-1988 © BBC 1988 Tracks 5-8 Recorded 06-11-1988 © BBC 1988 Tracks 9-12 Recorded 22-07-1990 © BBC 1990 Track list: A1 Forgotten Existence A2 Attack In The Aftermath A3 Psychological Warfare A4 In Battle There Is No Law A5 Drowned In Torment A6 Eternal War B1 Realm Of Chaos B2 Domination B3 Destructive Infinity B4 Warmaster B5 After Life B6 Lost Souls Domain Label: Strange Fruit/Unofficial Release
  • Reissue of the legendary UK band SACRILEGE's landmark debut - 'Behind The Realms Of Madness'. Originally released in 1985, SACRILEGE were one of the first bands of the 80's that both punks and metalheads rallied behind. Propelled by singer Lynda 'Tam' Simpson's ferocious vocals and poltically charged lyrics, Behind The Realms Of Madness blended crust, thrash, hardcore, doom and death-metal to create a timeless album that has directly influenced scores of punks and heshers alike. 425gsm heavy cardboard cover, insert, poster, black vinyl, ltd 500, Original vinyl transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2014. Audio cleaning and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in March 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate reissue! Label: High Roller
  • Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings.It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger.Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy.After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced.Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan 3rd full length album from Necrot. Vinyl housed in a golden foil stamped gatefold jacket. Label: Tankcrimes Barcode: 0879198113812
  • Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings.It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger.Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy.After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced.Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan 3rd full length album from Necrot. Vinyl housed in a golden foil stamped gatefold jacket. Label: Tankcrimes
  • SACRIFICE should require no introduction. Formed in 1983, the band became one of Canada’s earliest thrash exports and, over the next ten years, largely defined the sound and style of Canadian thrash metal. In 1986, after two rehearsals and the pivotal The Exorcism demo, SACRIFICE released their now-classic debut album, Torment in Fire. Ripping and unrelenting and more than a bit evil, Torment in Fire truly sounded like its title. While all the songs on The Exorcism were re-recorded for their debut album, Torment in Fire delivered them in their ultimate form, with SACRIFICE sounding fiercer and more focused than ever. And the legend continued… High Roller Records, black vinyl, ltd 700, lyric sheet, 4 page insert, poster, A5 photo card, 425gsm heavy card board cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in March 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate reissue of this eternal Thrash Metal classic! FOR EUROPEANS ONLY! Label: High Roller Records Barcode: 4251267711789
  • SACRIFICE should require no introduction. Formed in 1983, the band became one of Canada’s earliest thrash exports and, over the next ten years, largely defined the sound and style of Canadian thrash metal. In 1990, with thrash hitting its creative and commercial peak – even major labels were releasing it – SACRIFICE released their most mature record, third album Soldiers of Misfortune. The sound of SACRIFICE here is pretty much the same as what came prior, but their attack became more precise and the songwriting allowed the twin-guitar interplay to flourish further. Criminally, the album didn’t reap the same accolades as its two predecessors, but time hasn’t diminished any of its power: SACRIFICE’s legendary trifecta was thus sealed. No frills, no bonuses, just classic CANADIAN METAL rendered in its original state, SHADOW KINGDOM is honored to reissue SACRIFICE’s first three albums on CD and tape formats. No other words needed: ABSOLUTELY MANDATORY! Black vinyl, ltd 500, 2 inserts, poster. Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in February 2022. Label: High Roller
  • Formed as a Punk band in the early eighties by guitarist Nige Rockett and drummer Steve Grice, Onslaught gradually transformed into Britain’s finest Thrash collective. A natural progression, according to Rockett. The speeding frenzy of neck breaking riffs, ripping leads and powerful songs made the first albums a success among the European underground. Power from Hell is the debut studio album by English thrash metal band Onslaught, released in February 1985. Apparently confusion has arisen as to who coined the term Death Metal, as it was Onslaught who wrote their song 'Death Metal' in early 1984 and recorded the album version later in the same year, Possessed who recorded their song entitled "Death Metal" on their 1984 demo tape of the same name. "Power from Hell" was reissued in 1996 by Powerage Records. Black vinyl, 425gsm heavy cardboard cover, cardboard lyric insert, poster. Label: High Roller Barcode: 4260255245953
  • ONSLAUGHT | the force | LP

    22.50 incl. tax
    Formed as a Punk band in the early eighties by guitarist Nige Rockett and drummer Steve Grice, Onslaught gradually transformed into Britain’s finest Thrash collective. A natural progression, according to Rockett. The speeding frenzy of neck breaking riffs, ripping leads and powerful songs made the first albums a success among the European underground. The Force is the second studio album by English thrash metal band Onslaught, released in May 1986. More successful than their previous album, Power from Hell, The Force is considered a thrash metal classic by fans and critics, and the band's first to feature Sy Keeler on vocals (he would depart in 1988, only to return for the 2007 album Killing Peace). Reissue 2019, black vinyl, ltd 250, 425gsm heavy high gloss cardboard cover, lyric sheet, poster, transfer and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in August 2018. Label: High Roller Barcode: 4251267702398
  • It is quite sensational to see another MORBID SAINT album released at this point in time, meaning more than 30 years after their second LP “Destruction System” was recorded but not finished, only to be officially published recently. However, the prospect of delivering new music in their own unique death/thrash metal style was one of the main reasons why the core members reunited in 2010 in the first place. During its initial run from 1984 to ’94, the band wasn’t even close to having the final word, especially with regards to their seminal first record “Spectrum of Death” (1990). “Swallowed By Hell” was born from a remote creative exchange, with ideas being bounced back and forth between all members to create a ten-track barrage of extreme metal like it’s become rare these days – utterly punishing yet musically sophisticated, pushing limits but not for its own sake, and topped off by an artwork from the iconic Ed Repka (Death, Megadeth). Recorded at The Belle City Sound Company by Chris Djuricic (Num Skull, Disinter) with finishing touches put on at Chernobyl Studios by Scott Elliott, “Swallowed By Hell” reeks of the old school but plants its feet firmly on contemporary ground. “This is the best line-up we could ask for,” guitarist and co-founder Jim Fergades says. “We now welcome all opportunities, and depending on which ones come our way, you never know what may happen…” Andreas Schiffmann Morbid Saint – Swallowed By Hell Track listing: 01] Rise From The Ashes 02] Swallowed By Hell 03] Bloody Floors 04] Burn Pit 05] Fear Incarnate 06] Fuck Them All 07] Bleed Them Dry 08] Pine Tuxedo 09] Killer Instinct 10] Psychosis Line-up: Pat Lind - vocals Jim Fergades - guitar Jay Visser - guitar Bob Zabel - bass DJ Bagemehl - drums. Black vinyl, ltd 400, insert. Label: High Roller Barcode: 4251267717316
  • Spectrum of Death is the debut 1989 album by American band Morbid Saint. While words like 'underground' and 'cult' get thrown around a lot in metal circles, they could not be more apt to describe 'Spectrum of Death' by Morbid Saint, who Formed in 1984, the founding members eventually formed a five piece that churned out some of the wildest thrash there has ever been. Black vinyl, 425gsm heavy cardboard cover, insert printed on uncoated paper, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony. Label: High Roller Barcode: 4251267710331
  • Rising from the Sea is the second studio album by the German thrash metal band Exumer. It was released on 21 July 1987 through Disaster Records. The album was produced by Tommy Ziegler and Exumer at Zuckerfabrik Studio in Stuttgart. Reissue 2023, black vinyl, ltd 200, lyric insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony Label: High Roller Records Barcode: 4251267714025
  • Possessed by Fire is the first studio album by the German thrash metal band Exumer. It was released on 8 November 1986 through Disaster Records.The album was produced by Harris Johns at Music Lab Berlin. Reissue 2024, 180g black vinyl, ltd 500, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony Label: High Roller Records Barcode: 4251267715091
  • "Formed in 1984 in California, Détente were like those bright stars which shine for a moment and then explode. The initial line-up was Dawn Crosby (vocals), Dennis Butler (drums), Ross Robinson (guitars) and Steve Hochheiser (bass). Before the release of the full-length ‘Recognize No Authority‘, there were three demos and a lot of changes in the band’s line-up. Living and creating in a time and place where the heart of the underground thrash scene was beating fast, Détente really had the spirit and passion of their time. This can be recognized by anyone, not only by listening to their music, but by taking a look at their biography as well. The frequent changes in line-up, often combined with disagreements derived from spontaneous explosions of their characters, reveal that Détente was a band of original 80’s thrashers. This means, that they were part of the two music scenes which emerged at that time in the USA; punk and thrash, the so-called ‘crossover’. Making an impact through their demos and live shows, Détente signed with Roadrunner Records and in 1986 released ‘Recognize No Authority‘. Ten tracks which last 30-something minutes of pure 80’s crossover thrash. As the remaining members lately stated, ‘Recognize…‘ was not only an angry-to-be-angry album, but wanted to have a clear social and political substance. This is obvious, from the track titles, the lyrics of course, as well as the intro of some tracks, which are excerpts of news broadcasts. The track ‘Holy War‘, which has an amazing and catchy bass intro that really stands out, is about the war in the Middle East. ‘Blood I Bleed‘, a very emotionally strong track, is about the exploitation of women. Apart from the very good musical composition – quick and heavy riffs, which often slow down to give a more sinister atmosphere, heavy metal-ish solos, and hammering drums – what completes this album is the passion of Dawn Crosby. Her amazing punk-style vocals had a great range, and more importantly, showed genuine passion and anger. Dawn Crosby left the band after ‘Recognize…‘ and created Fear Of God with Michael Schäfer (ex-Fog). As the biography of Détente implies, Crosby was probably a true punk as an artist and a person. It is certain that she belonged to the “pantheon” of front-women of the heavy/hardcore music scene. Unfortunately, she died from complications due to alcohol and drug abuse in 1996 (age 33). After she left Détente, the band split up for a while and then reunited, releasing the album ‘Decline‘ in 2010, and then split up again. In 2014 the album was re-released by Xtreem Music, including the early demos. What is interesting is a statement from Roadrunner which applies perfectly to Détente: “some music was meant to stay underground”. Reissue 2023, black vinyl, ltd 480, 425gsm heavy cardboard cover, 2 inserts, poster, A5 photo card, mastered for vinyl by Patrick W. Engel at Temple of Disharmony. Cutting by SST Germany on Neumann machines for optimal quality on all levels... Label: High Roller Barcode: 4251267715664
  • Canadian Death / Thrash Metal band, formed in 1984, and their second album. Black vinyl, ltd 250, insert printed on uncoated paper, mastered by Patrick W. Engel at Temple of Disharmony. Label: High Roller Records Barcode: 4251267712502
  • After Canadian thrash metal legends Razor had released their self-financed debut EP »Armed And Dangerous« in 1984, they were surprised to get the attention of Attic Records, the country’s leading major record company at the time. The band soon inked a deal with the label and was destined to spearhead the company’s new Viper Records division. »Escape The Fire« was originally planned to be the follow-up to »Armed And Dangerous« but in the end it did not work out like this. Attic put pressure on the young band and had their own ideas of shaping the future of Razor. The result was »Executioner’s Song«. Original bassist Mike Campagnolo tells the whole story: “Let’s face it, when any young band is given a shot at a record deal, it usually leans heavily in the label’s favour. Sure, we were inexperienced but they were also treading in unknown waters with the new Viper division, so there was a bit of lost advantage all around. I think we learned a bit from each other but hey, it’s usually the person with the cash making the final decisions. The main problem was that they were trying to cash in on anything we released instead of promoting a newer direction as the metal scene began to get harder and faster. They really didn’t grasp how the scene was changing and progressing and didn’t really get ahead of that wave. They had a pattern of how to deal with artists and stuck to that formula instead of seeing that this genre was here to stay and not just a fad. Attic showed that strategy with »Executioner’s Song« when they wanted some songs off of »Armed And Dangerous« and the »Escape The Fire« demo to create that release.” The record company people insisted that the band re-recorded “Take This Torch”, “Fast And Loud”, “The End” and “Hot Metal” off »Armed And Dangerous« and put it on the first Viper Records album (which turned out to be »Executioner’s Song«). “Sort of yes!,” confirms Mike Campagnolo. “They were really eager to include these songs on the first full-length album. They thought they were strong tracks for sure but the consensus was made and we agreed to the decision. I guess because »Armed And Dangerous« was such a limited release, they were hoping that these songs would reach a wider audience throughout the world, which I guess sort of worked out. ‘Take This Torch’ and ‘Hot Metal’ are songs we still include in our set today, so I guess they did achieve a sort of lasting power over time. We never really got an »Escape The Fire« concept artwork design in play and the artwork and »Executioner’s Song« concept and cover design were done by the Attic guys. I think we were just happy to have a recording deal and get the material out in some form, so dropped the »Escape The Fire« concept altogether.” All in all, there were four songs left from the »Escape The Fire« session, which did not make it onto »Executioner’s Song«: “Metal Avenger”, ”Heavy Metal Attack”, “Frost Bite” and “Ready For Action”. »Escape The Fire« was originally recorded on December 1st 1984 at Future Sound studios in Toronto and was produced by Terry Morostega (who had worked on »Armed And Dangerous«) along with Dave Carlo. Mike Campagnolo explains in more detail: “Well, we used to play all those songs in our live set and we were eventually planning to release them but by the time we did some tour support for »Executioner’s Song«, Attic was really pushing us to keep the momentum moving with a new release. They wanted to include those leftovers but Dave had began writing »Evil Invaders« and the direction of the music was swinging in a more thrash and speed direction and we persuaded them to wait and release all new material, which was what we really wanted to do. ‘Metal Avenger’ was a straight forward metal song with the extended guitar soloing à la Nugent or Lips from Anvil and was really long. ‘Heavy Metal Attack’ was a classic Razor riff, very fast and ripping, I always liked that one. It was a straight ahead ripper! We used to play it live even faster than the recorded version. Not a deep thinker but more of a headbanger. ‘Frostbite’ was also a classic Razor riff and always went over well in the live set and ‘Ready For Action’ was more a fast and heavy rock/metal anthemic type song.” Said “Metal Avenger” was actually over 7 minutes long, so a pretty long track for the early days of Razor: “Yeah, like I mentioned earlier, it was really a showcase for Dave’s guitar playing and there was a duet with him and Embro in the middle, with just guitar and drums. It was a sort of solo spot for Dave in the live show, where it sort of developed over time. We tried to relay that feel on the recorded version.” As Mike Campagnolo explains, after »Armed And Dangerous« Razor were “firing on all cylinders”: “We were trying to hone our live show, so we were playing a lot of those songs at shows already. You can hear the lean towards a faster thrash direction with songs like ‘Escape The Fire’, ‘Gatecrasher’, ‘City Of Damnation’ or ‘March Of Death’. A song like ‘Distant Thunder’ was our attempt at a mainstream metal song and others like ‘Death Race’ and ‘Time Bomb’ were still reminiscent of the »Armed And Dangerous« sound. It would have been interesting to see how »Escape The Fire«, if released in its original form, would have been received by metal fans. It would’ve probably pushed some of the »Executioner’s Song« material onto »Evil Invaders« and who knows if it would have altered the progression of the band in any way? Anyway, that history has been written and I hope people listen to this release and take it for what it is: “a small piece of history”, a sliver of time in Razors over 35 year career!” Matthias Mader Label: High Roller Records Barcode: 4251267711291
  • Evil Invaders is the second album released in 1985 by Canadian speed/thrash metal band Razor. The album's art, depicting an evil cyborg of living tissue over a metal endoskeleton, is reminiscent of the title character from the science fiction action film The Terminator, released one year prior. A music video was made for the track "Evil Invaders". silver vinyl, ltd 250, insert, poster Label: High Roller Records Barcode:
  • Custom Killing is the fourth studio album by the Canadian speed/thrash metal band Razor. It was released in July 1987 by Toronto based label Fringe Product. It is more of an experimental approach and was fairly overlooked upon its release. It also features "Survival of the Fittest" and "Last Rites" which are the band's longest songs ever recorded. It is the final album to feature Mike Embro on drums and Mike Campagnolo on bass. High Roller Records, 2021 reissue, black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric sheet printed on uncoated paper, poster Label: High Roller Records Barcode: 4251267708284
  • Executioner's Song is the debut studio album by Canadian speed/thrash metal band Razor, released in 1985. The majority of the tracks were originally in pre-production in December 1984 and were released as a demo tape titled Escape the Fire. silver vinyl, ltd 250, insert, poster Label: High Roller Records Barcode:
  • Heavy Metal band from Essex (England). Crucifixion was part of the N.W.O.B.H.M. movement. The band formed in 1979. The ultimate Crucifixion anthology, comprising of 14 songs taken from three highly collectable singles released between 1980 and 1984. Reissue 2021, black vinyl, ltd 250, 425gsm heavy card board cover, 12 page A4 booklet with all lyrics and extensive liner notes, 2 x poster, The ultimate Crucifixion Anthology, 14 songs taken from original sources! Vinyl and tape transfers, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY, February / March 2019. Tracklist: 1. The Fox 3:36 2. Death Sentence 2:21 3. Leaving 4:43 4. Jailbait (demo version) 3:01 5. Gone Fishing 2:39 6. Freeway 4:02 7. War Slaves 2:37 8. Take It or Leave It 3:12 9. On the Run 2:56 10. Green Eyes 4:30 11. Moon Rising 3:48 12. Jailbait (12" version) 3:06 13. The Fox (compilation version) 3:18 14. Sacrifice 3:25 *TRACKS 1-2: "The Fox" 7" single (5:57), 1980 Miramar Records *TRACKS 3-7: "Demo '81" (17:02) *TRACKS 8-9: "Take It or Leave It" 7" single (6:08), 1982 Neat Records *TRACKS 10-12: "Green Eyes" 12" EP (11:24), 1984 Neat Records *TRACK 13 taken from Neat "60 Minute Plus Heavy Metal Compilation" (1982) *TRACK 14 unused outtake from 1981 demo Label High Roller Barcode: 4251267709397
  • Compilation of tracks from the legendary NWOBHM group. Speed Metal (as well as Black Metal and Thrash Metal) evolved out of the New Wave Of British Heavy Metal movement. There is not a shadow of a doubt about that. So if the question comes to the first Speed Metal song in history, there could only be two contenders. Either its Ravens furious "Faster than the Speed of Light" from their second landmark album "Wiped out" (issued in 1982 on Neat Records) or its "Axe crazy" by Bristols most famous sons Jaguar (released as a 7" single also by Neat Records the same year). Jaguar released their first single "Back Street Woman" in 1981 via Heavy Metal Records. But before that, they had already recorded a highly praised demo cassette. "Opening the Enclosure" now bans the first four demos (recorded between 1980 and 1983). A1-A3 recorded at Sound Conception Studios, St Pauls, Bristol, 26th March 1980. A4-B2 recorded at Studio 34, Clifton, Bristol, 22nd December 1980. B3-B4 recorded in Bristol, early 1982. B5 recorded in Warmley, Bristol, March 1983. Bone with black & white splatter vinyl, ltd 250, lyric sheet, A5 photo card Label High Roller Barcode: 4251267710904
  • Tank (stylized as TANK) is the name of two British heavy metal bands, both of which stem from a band formed in 1980 by Algy Ward, a former member of The Damned. The original band is known as part of the new wave of British heavy metal movement. Tank was often compared to Motörhead as both bands were trios fronted by singing bassists, and played a loose, almost punk-styled metal music with often colourful lyrics. Power of the Hunter is their second album, released in 1982. The album was produced by Nigel Gray, better known for his work with The Police. "Crazy Horses" is a cover of the 1972 hit by The Osmonds. Bone white vinyl, ltd 400, insert, poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic! Label High Roller Barcode: 4251267713257
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