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Re-release of the second LP by Camera Silens from Bordeaux originalle released in 1987, one of the best french bands ever. This time the band brings in some reggae and soul elements along with their original Punk/Oi sound. Every bit as good as their first album and highly underrated. (Euthanasie Records) [bandcamp width=100% height=120 album=3294826968 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small] -
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Starting out by playing fast ‘hardcore’ and gradually getting even faster and more thrash as time went on, CANCEROUS GROWTH put out their first LP Late for the Grave on Ax/ction Records, following it up with a second one entitled ‘hmmlmmlum…’ as well as two 7”s (Today’s Society and Live at Last) as well as appearing on We Got Power Part 2 & 3 and Welcome to AX/CTION Island compilations. CANCEROUS GROWTH even attracted the attention of the then newly-formed Nuclear Blast Records who did German versions of CANCEROUS GROWTH’s first two LP’s complete with bonus tracks! Now, Beer City Skateboards and Records is proud to bring you a limited edition RSD 2015 completely restored and remastered reissue (limited to 1000 copies on translucent gold vinyl) of CANCEROUS GROWTH first full length Late For the Grave LP. After being out of print for nearly 30 years we are bringing back this classic yet humble early- mid 80’s hardcore/Thrash Metal band first album. Not only has the audio been completely restored and remastered, but it also contains a brand new cover with original art work as well a a brand new inner sleeve complete with lyrics and flyers! (Beer City Records) -
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It was the beginning of an era. The debut album "Epicus Doomicus Metallicus" by doom metal legends CANDLEMASS. Originally released on the 10th of June, 1986. It is considered as one of the most influential doom metal albums of all time. The album had a significantly different sound than other European heavy metal bands of the time, because of their use of operatic vocals mixed over slow and heavy guitar riffs. (Peaceville Records)
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THE 1999 HEAVY METAL MASTERCLASS FROM THE SWEDISH LEGENDS Candlemass was formed by bassist and songwriter Leif Edling in Stockholm, Sweden in 1984. Well known for their epic doom metal, they have hugely influenced a generation of the genre’s subsequent greats such as My Dying Bride & Paradise Lost. The band are well respected, having created two of THE definitive doom classics of all time, in debut EPICUS DOOMICUS METALLICUS and, perhaps more notably, second album NIGHTFALL which introduced the iconic vocalist Messiah Marcolin. Originally released in 1999, From the 13th Sun and is a highly regarded release in the band’s catalogue. Critically acclaimed, its reputation as one of the stronger Candlemass albums has only grown over the years. In stark contrast to their earlier output of sweeping epic compositions, this album consists of a more modern doom sound mixed with some experimental effects and psychedelic rock influences to create an unusual and interesting album which could be described as an intriguing fusion of Black Sabbath’s greatest moments and Hawkwind’s space-rock sensibilities. (Peaceville – CDVILED218)
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Clear with red and black splatter vinyl released in gatefold sleeve. Lucifer Rising is an expanded EP by Swedish doom metal band Candlemass, released in 2008 via Nuclear Blast. Candlemass recorded two new tracks, "Lucifer Rising" and "White God", and re-recorded "Demons Gate" for this release. The collection is also primarily composed of a series of 9 live tracks recorded in Athens, Greece on their 2007 tour (sides 2 to 4 on the vinyl edition). Recording on the new material was completed in April 2008. The title track, "Lucifer Rising", is included as a bonus song on the digipak edition of the full-length album Death Magic Doom, which was released six months after the EP. Tracklist: A1 Lucifer Rising A2 White God A3 Demons Gate Live In Athens 2007 B1 At The Gallows End B2 Solitude B3 Emperor Of The Void C1 Devil Seed C2 Mirror Mirror C3 Under The Oak D1 Of Stars And Smoke D2 Black Dwarf D3 Samarithan Label: Back On Black – BOBV561LPLTD Barcode: 803343197983
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THE DEFINITIVE DOOM METAL OPUS FROM THE SWEDISH LEGENDS Candlemass, formed by bassist and songwriter Leif Edling in Stockholm, Sweden in 1984, is well known for its influential Epic Doom Metal sound, which itself evolved out of the masterful Black Sabbath. 'Nightfall' was the second Candlemass studio album and saw its release in 1987. Alongside first album 'Epicus Doomicus Metallicus', 'Nightfall' was instrumental in shaping the Doom Metal scene that exists to this day. On 'Nightfall', making his debut with the band was vocalist Jan Alfredo Marcolin, better known as Messiah Marcolin, who became a well-established and highly respected vocalist throughout the Metal world, with his powerful soaring and theatrical tones. Messiah Marcolin became an iconic figure within the band until his departure in the early 1990s. 'Nightfall' is a continuation of the band's debut; with highly effective epic and melodic heavy doom compositions. The album truly helped define the genre and paved the way for Doom Metal's future, with bands such as Paradise Lost and My Dying Bride often hailing Candlemass as being among their primary inspirations. Label: Armando Curcio Editore
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"The Pendulum" - the masterful new EP by the undisputed kings of epic doom, staving off your hunger for more until CANDLEMASS' next full-length hits! Grammy-nominated classic doom icons CANDLEMASS don't even need to drop a full-length for every release to prove they belong at the top of an entire genre and beyond. Fully comprised of never-before-heard, unused tracks cut from the The Door To Doom recording sessions, the band’s masterful new EP, The Pendulum, perfectly showcases that these timeless Swedish pioneers are the undisputed kings of epic doom. The fully-mastered EP opener/title track “The Pendulum” charges in with a melodic, head-swinging, thrashy rush - setting the stage for the raw, unfiltered steamrolling demo cut, "Porcelain Skull”, encapsulating the listener in unadulterated doom heaviness. The six track EP leads the listener through a maze of frenzied riffing, accented by Leif Edling's distinctive, penetrating vocals and the unique, melancholy sound that has proven CANDLEMASS as a heavy metal staple. The Pendulum is a MUST-HAVE for every classic doom record collection, and will stave off the hunger for more until the band's next full-length hits. Side A: 1 The Pendulum 2 Snakes of Goliath (Unreleased Demo) 3 Sub Zero (Unreleased Demo) Side B: 4 Aftershock (Unreleased Demo) 5 Porcelain Skull (Unreleased Demo) 6 The Cold Room (Unreleased Demo) (Napalm Records)
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The Bleeding is the fourth studio album by American death metal band Cannibal Corpse, released on April 12, 1994 through Metal Blade Records. It is the last album featuring singer and founding member Chris Barnes and is the first album featuring guitarist Rob Barrett. According to SoundScan numbers, The Bleeding is the fifth top-selling death metal LP in the United States, amassing over 98,300 copies sold. The Bleeding is also Cannibal Corpse's most successful album to date. Label: Metal Blade Records Barcode: 039841403718
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Tomb of the Mutilated is the third studio album by American death metal band Cannibal Corpse, released on September 22, 1992, by Metal Blade Records. The album was banned in Germany, due to the violent cover and the extreme nature of the lyrics. This album is a death metal classic. 180 gr Vinyl. Label: Metal Blade Barcode: 039841400311
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The Bon Voyage recordings sound far more mature than the band's earlier music, whilst losing some of the playful insouciance that ran through the first two albums. Strains of ska and chanson complement the latter-day NDW (German new wave) flavoured power pop. After four successful years of extensive touring, new perspectives presented themselves to Carambolage. Having outgrown the somewhat languid Scherben scene and label life at David Volksmund Produktion, the trio upped sticks and headed for Berlin, curious to see what the big city had to offer, namely a close-up view of the pop business. Manne Praeker, former Spliff bass player and Nina Hagen's producer, offered to produce their third record, anticipating a shot at success with a major label. Bon Voyage was recorded in 1984 in Praeker's Mad-Mix studio in Berlin with various guest musicians. Even the pop mag Bravo took note, featuring the punkish North Frisians in a home story. Alas, any aspirations of becoming stars quickly dissipated during the recording process as aesthetic differences came to the fore. In one corner, Britta and Angie were determined to follow the DIY principles of the two preceding albums. In the opposite corner, Manne Praeker and Elfie felt compelled to introduce a stronger element of professionalism and Praeker increasingly weighed into the creative process. "You might say our story practically came to an end with a collision**, just to match our name," Britta Neander recalled in an interview with Tine Plesch. We're happy to report that the girls renewed their friendship after a while. The third record is well worth a listen, a divergent coda to the band's history. Bon Voyage spent 34 years under lock and key before the Fuego label released a digital version in the year 2019. (Tapete Records)
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Originally released 1982. On their sophomore album Eilzustellung-Expres, Carambolage's ranks were bolstered by the arrival of Janett Lemmen, who had deputized for the pregnant Angie on a recent tour. Like its predecessor Carambolage (1980), the record was produced in Fresenhagen by R.P.S. Lanrue and released on the Scherben label David Volksmund Produktion. Like a whirlwind girl gang on the road, the LP revs up with dynamic guitar riffs, indulging their "turned on to the max" sexual desires, before the mood shifts to the deeper realms of life on the Eilzustellung-Expres (express delivery): melancholy musings on dismaying love affairs, a song about contradictory feelings experienced in childbirth, culminating in a declaration of love for Angie's new daughter Lisa. The baby was always on board when Carambolage went on tour. The idea of her father Kai Sichtermann (Scherben bass player) taking her on tour would have been too much even for the left-leaning alternative Ton Steine Scherben. Making a mockery of male privilege, Carambolage delivered an album orbiting punk and pop in a classic line-up: Britta on drums, Elfie's snotty vocals and effects-drenched guitar and keyboards, Angie on bass. The trio is augmented by Janett's screeching saxophone on the instrumental track Maschine and a squeaky baby sample (Lisa?). I Remember You brings proceedings to a close in something approaching Schlager. (Tapete Records)
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Originally released 1980. Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. With the first demo tapes in circulation, Burkhardt " Zensor" Seiler organized a gig for Carambolage in the hip Kreuzberg club SO36. At a time when anything that could be labelled "Neuen Deutschen Welle" (German New Wave) was stamped accordingly, the trio played by their own rules. The eponymous debut album Carambolage, produced by Rio Reiser and R.P.S. Lanrue in the summer of 1980 and released on the Scherben label David Volksmund Produktion, could not be constrained by NDW marketing concepts. Instead, the disc was defined by its "colossal, inventive sound" which fed on Elfie's curiously autodidactic "Fantasiegriffen" guitar style and her "Fresenhagen sparrow" voice, counter-balanced by Angie's organ and inimitable basslines and energized by Britta's relentless drumming. Backed by quirky organ and ragged drums, Elfie spits her lyrics with emphatic simplicity. Once her words are in your head, they stay there. Tracks like Die Farbe war Mord hint at a sense of feminist awareness. Carambolage may not have coined the phrase, but "lipstick feminism" became a thing, consciously playing with feminine clichÈs and hammering them home in performative fashion, rather than boxing them off. Towards the end of the record, vocals and sound are transcended in the monotone shimmer of 22 rue Chenoise. Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo. Strictly out of reach of the Scherben. It's fair to say that Carambolage helped to shape the DIY approach which the Riot Grrrls of the 1990s would emulate. Forty years later, it's still mostly men standing on festival stages, but the Carambolage story ought not be consigned to the shelves marked nostalgia. On the contrary, it is a thread which most definitely needs to be picked up. (Tapete Records)
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Originally issued on Thirteen Records from Sao Paulo in 1997, ‘Back To Basics’ is the second album by Rio De Janeiro punk legends Carbona. Widely considered the peak of the whole Ramones-core made in Brasil movement, this groundbreaking album is released on vinyl for the first time ever. Featuring one bonus track and double sided lyrics insert included. (Hey Suburbia Records)
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Carcass demos! Features "flesh Ripping sonic Torment" Demo '86 and "Symphonies of sickness" Demo '87. a must have for any Cracass fan! Tracklist: Flesh Ripping Sonic Torment - Demo 1986 A1 Genital Grinder A2 Regurgitation Of Giblets A3 Festerday A4 Limb From Limb A5 Rotten To The Core A6 Excreted Alive A7 Malignant Defecation A8 Necrocannibalistic Bloodfeast A9 Psychopathologist A10 Die In Pain A11 Pungent Excruciation A12 Face Meltaaargh Symphonies Of Sickness - Demo 1987 B1 Reek Of Putrefaction B2 Slash Dementia B3 Embryonic Necropsy And Devourment B4 Cadaveric Incubator Of Endoparasites B5 Ruptured In Purulence B6 Crepitating Bowel Erosion Label: Fan Club/Unofficial Release
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Writhing, sneering, tight cornered, "Machine Response" the only acceptable follow up to the blistering and landmark "Attempted Suicide." Nearly ten years of beating around the bush, casually playing around the world and drip releasing music along the way, Career Suicide is backed by their best lineup ever, ready to break back through themselves with this new full length. Machine Response veers in and out of pure speed, bursts of melody, and chunky tempo shifts, indenting the long standing influence of early 80s USHC, late 70s punk, and a peppering of 60s swagger, with their own clearly developed style. Dallas Good (Sadies, Andre Williams, John Doe, Half Japanese, Elevator and a million more) presents a magnificently essential 2nd guitar and lead presence; a screaming contribution by great friend and long time supporter of the band, Souichi Hisatake, (Forward, GISM, Insane Youth, Gudon etc) to crack your brain up; artwork in collaboration with Ryan Tong of S.H.I.T. and Toronto's life-giving Faith/Void; and a thundering recording, once again helmed by the decorated and limitless in his pursuit of smooth hearing loss, Jon Drew, provide the most damaging clarity Career Suicide have been able to capture to date. (Statick Shock Records)
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• Updated re-issue of Carnivore’s seminal self-titled debut, originally released in 1985, with extensive liner notes and contributions from the band. • Newly remastered, the release features liner notes from respected metal writer Mark Freebase who conducted a rare interview with the band’s sole surviving member, drummer Louis Beato. • Housed in a digipack, the release contains three bonus tracks from 1986’s ‘USA For USA’ demo. Carnivore was founded in 1983 in Brooklyn, New York, mixing Hardcore and Metal with an extremely confrontational and direct approach both visually and lyrically. The band recorded two albums before splitting in 1987 – founding member Pete Steele then formed the enormously successful Gothic Metal act Type O Negative. Louis Beato played on Agnostic Front’s hardcore classic ‘Cause For Alarm’. Featuring classics like ‘Predator’ and ‘God Is Dead’, Carnivore bridged the gap between the doom-laden Heavy Metal of Black Sabbath, and the New York Hardcore sounds typified by bands like Cro-Mags, Agnostic Front and Murphy’s Law. In his final interview before his death in 2010, Steele reflected on the band’s legacy. “People have completely misunderstood Carnivore… the whole point of Carnivore is that sometimes you have to upset people…” Track Listing: 1 Predator 2 Carnivore 3 Male Supremacy 4 Armageddon 5 Legion of Doom 6 God Is Dead 7 Thermonuclear Warrior 8 World Wars III & IV 9 USA for USA (Demo) 10 SMD (Demo) 11 Sex And Violence (Demo) Label:Di ssonance Productions Barcode: 5013929020764
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Neo-Mod act the Carpettes began as a Stones-influenced school band, formed in the small northeast Norman town of Houghton-le-Spring in the mid-l97Os, the trio of frontman Neil Thompson, bassist George Maddison, and drummer Kevin Heard shifting to punk before signing to Small Wonder as a Mod revival act. By the time they joined the Beggar’s Banquet roster in 1978, Heard was replaced by Tim Wilder (with Simon Smith of the Merton Parkas briefly in the fold). Sophomore album Fight Amongst Yourselves is arguably their best, the appealing material ranging from the socially-relevant power-pop of the title track and the pop-punk of ‘The Reason I’m Lonely’ to the reggae cadences of ‘The Last Lone Ranger’. Label: Radiation Records Barcode: 8055515232677
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Caspar Brötzmann Massaker’s masterful second album from 1989 – remastered. The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations mixed with hard German industrial atmosphere. (Southern Lord Records)
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Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin- based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedbackand droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats, ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling. Originally released in 1992, Der Abend der Schwarzen Folklore is the third Massaker album, released byRough Trade Germany. According to Caspar Brötzmann, the title track and Bass Totem are the band’s most accomplished songs. It’s certainly the most sonicly refined of their albums, recorded during a residencyover several weeks at the pastoral site of Conny Plank’s studio near Cologne, and produced by Ingo Kraussand Bruno Gebhard, who had worked with the famed Krautrock producer until his death in 1987. Not least, ...Schwarzen Folklore also features their new drummer Danny Lommen, whom Caspar and bassist Eduardo Delgado had headhunted at a concert with Lommen’s Dutch prog-core band Gore. Lommen shared their tastes in sheer volume and presence, and “has a completely unique sound to his drumming“, as Caspar marvels, “he plays ultrahard and clear, with authority and no compromise, nothing, not even the mostturbulent and speedy beats, sound fuzzy - a statement.“ This, he adds with a smile, would sometimes lead tointense moods during rehearsals, when he overpowered - no small feat - competing with the sounds of Caspar’s guitar. The Tribe and Black Axis were still if very loosely rooted in some kind of heavy rock. Der Abend der Schwarzen Folklore erases these residues from their genetic make-up - evolving into a free-form noise, strangely motionless like an earthquake rumble, that sounded like nothing else at the time. The opening title song gives the best example with its densely shifting chunk of howling and screaming guitar shreds and grimly determined rumbles from the bass, accented by heavy single beats or massively rattling, yet transparent outbursts from the drums. An impenetrable sense of threat fills the sound, interrupted only by breaks of skinny brooding, giving way to Caspar’s throaty growl evoking a lonely march through hostilewastelands under flaming sunsets. Culminating in an archaic choir chanting about black walls rising - a monstrous cloud of thick high-voltage tension. Label: Southern Lord Records Barcode: 808720026214
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Originally recorded in 1994 and released in 1995, Home is characterised by Massaker’s ultra-refined riffs of shrieking, screeching feedback and rattling machine gun staccatos. Exuding confidence, authority and a natural rapport that the musicians clearly had with one another. Certain songs from earlier records were revisited on Home including “The Tribe” and “Massaker” from The Tribe, and “Templehof”, “Hunter Song” and “Böhmen” from Black Axis. These particular pieces had evolved following years of rethinking, rehearsing and reshaping them on stage, as well as playing with Danny Lommen, who had replaced Frank Neumeier on drums after Black Axis. These refined versions on Home raise the level of density and tension, the ominous evocations of impending doom, booming threat, and the grim determination that’s always driven Massaker. The 1994 recording of Home at the Steinschlag Studio (of FM Einheit) features the following musicians, Caspar Brötzmann (guitar), Danny Mommen (drums) and Eduardo Delgado Lopez (bass). (Southern Lord Records)
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Caspar Brötzmann is one of the most unique and innovative guitarists of the last 40 years. With his Berlin- based trio Massaker, he evolved a whole new autonomous approach to writing rock songs, starting fromsounds that were widely considered ornamental if not detrimental ‘sonic waste’, such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving. Even today, as the art of noise has reached a level of sophistication that no one could have imagined 30 years ago, Caspar Brötzmann Massaker’s music is resoundingly singular. Ultra heavy riffs and beats,ominous tribal chants and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling. Koksofen (which translates as blast furnace), originally released in 1993, has become one of Massaker’s most popular albums. Like it’s predecessor, ...Schwarzen Folklore, the album took shape in Massaker’s rehearsal room below the Berlin subway station Schlesisches Tor, and was recorded at Conny Plank’s studio near Cologne, with Plank’s former associates Ingo Krauss and Bruno Gephard producing. There’s a different kind of intensity to Koksofen. The features of Massaker’s sound are in full bloom. Mountainous noises tower up and crash down, and tormented sounds rise from ominously seething grounds, haunting the entire song-scape. The feel of doom and dread hangs heavily over the five songs, and the title song rumbles, shrieks and wails, plagued by Caspar’s guttural growls of war, suffering and death. Caspar recalls one anecdote from shortly after the original release whereby Bassist Edu Delgado called him asking to turn on the TV, thus discovering that Hymne was being used as background music to a reportabout the death penalty in the US. A different kind of intensity indeed. Reflecting on the album to this day Caspar remarks “Koksofen is still a mystery to me,'' he continues “I can still feel the troubled times in these songs.” - the effects are certainly potent for the listener too. And the album undoubtedly affirms Massaker as the fiercely original and compellingly raw musicians that they are. Label: Southern Lord Records Barcode: 808720026313
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Caspar Brötzmann Massaker’s masterful debut album from 1988 – remastered. The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations mixed with hard German industrial atmosphere Label: Southern Lord Records Barcode: 808720025910
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CASTILLO is back new killer material!! Last summer we released a promo/teaser/advance cassette with 2 tracks that now are accompanied of 5 more new songs of their fine melodic yet agressive Punk OI! , 7 tracks in total where gruffy meets tuneful, melody meets rough and epic meets raw. The songwriting is excelent as always, with special attention to detail and guitar work. Great riffs and memorable sing-a-longs. All wraped up the best art again by Andoni De La Cruz. Label: Mendeku Diskak
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The musical influences on the debut album are as diverse as the artists themselves. The melancholic song Cataphiles harks back to The Cure at the beginning of their pop phase in the mid-80s. A River pays tribute to early Californian death rock à la Voodoo Church. Rubbish Kids and Days of Despair forge a link to the current Goth Punk like Christ vs Warhol or Pawns. Furthermore, there are recurring elements of classic English goth rock and post-punk. This broad spectrum is one of the strengths of the album. The band brings the dark flair of the 80s into the modern age without sounding antiquated creating their very own style. The lyrics are empowering and encourage us to think about things, such as friendship with our own inner emptiness, about the punk in our hearts or unknown worlds under our feet. The album was recorded live in January 2022 at Sunsetter Recording Studio Bremen. (Sabotage Records)
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The Catatonics were Syracuse and Central New York’s first harcore punk band. Besides pioneering the original 1981/1982 Syracuse Hardcore scene, their classic Hunted Down ep is considered one of the first hardcore thrash/metal crossover releases, right up there with COC or DRI and remains a sought after (and pricey) collectors item 30+ years after it's release. Often compared to Jerry's Kids, SSD, Negative Approach and even Slayer, The Catatonics weren't followers or imitators, more like period contemporaries. A crucial collection of all known recordings from Syracuse's legendary punk/hardcore pioneers: The Catatonics! Blistering, intense, raging 80's American Hardcore Power! Includes: the holy grail “Hunted Down” 7-inch, compilation tracks, early demos and live recordings remastered from original tapes. Comprehensive 12-page booklet with liner notes, photos, and more! (Southern Lord Records)
