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Emerging in the late ’90s from western Athens as Requiem, only to be soon renamed to the more apt Embrace of Thorns, the Greek Temple of Black Death has been championing Darkness Impenetrable for more than 20 years. Having released five albums on labels such as Nuclear War Now! and Iron Bonehead plus an arsenal of demo tapes and split releases, Embrace of Thorns have been acknowledged as a force to be reckoned with. Their poison, a highly atmospheric and dense amalgam of death and black metal, has been gaining momentum since the release of their acclaimed sophomore album, Atonement Ritual, in 2009. Their third full-length, 2011’s Praying for Absolution, considered by many as their magnum opus, saw them fully embracing their potential and heralding knowledge through strife. Their latest full-length offering, 2018’s Scorn Aesthetics, was unanimously hailed and celebrated as arguably their ripest album, an idiosyncratic mix of somber, melodious, yet punishing Black Metal of Death that relies heavily on the organic mood of the performances and production. The new EP called The Pantheon I they unleashed in March continues exploring the pits of strife that is blackened metal of death, with music that is full of anguish, glorious darkness, and crushing dynamics. Now aligned with longtime fans Nuclear Winter, Embrace of Thorns are set to release their sixth album, Entropy Dynamics. The band’s first full-length recording in four years, Entropy Dynamics indeed includes many/most of the dynamics of their preceding LPs – death metalled muscularity, pitch-blackened atmosphere, stellar songwriting, and powerful production – but it also points the way toward new, creepier territory. For sure, Embrace of Thorns‘ grounding in the early bestial sound can still be heard, but rendered with the world-eating totality of classic death metal, that surge takes on a different, far-more-frightening form. The quartet heighten that frightening aspect with a subtle-yet-no-less-noticeable emphasis on dynamics rather than just crushing their enemies straightaway; when the soundfield strips back to its barest bones and ringing-into-the-abyss clean guitars take center stage, the full force of Entropy Dynamics is felt. Always staying true to themselves whilst maturing in the most respectable manner, Embrace of Thorns continue their campaign of extreme metal destruction with Entropy Dynamics. To coincide with its release, celebratory reissues of their sold-out albums Atonement Ritual and Praying for Absolution become available again via Nuclear Winter, as well as a CD version of the preceding EP The Pantheon I, which is supplemented with an exclusive bonus track. (Nuclear Winter Records) -
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Recorded live at the Mesa Amphitheater Mesa, USA, on 12th March 1995. Excellent quality master recordings. Tracklist: A1 Raining Blood 2:56 A2 Killing Fields 3:39 A3 War Ensemble 4:51 A4 At Dawn They Sleep 6:01 A5 Captor Of Sin 3:23 A6 Divine Intervention 5:10 B1 Dittohead 2:31 B2 213 4:35 B3 Mandatory Suicide 3:50 B4 Angel Of Death 4:46 B5 Hell Awaits 4:58 B6 Chemical Warfare 5:20 (Verne Records/Fan Club Release) -
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All tracks recorded between 1986 and 2009 and previously released on rare and long-deleted vinyl or CD compilations, movie soundtracks & expanded, Japanese-only CD editions. Tracklist: A1 Aggressive Perfector 2:29 A2 In-A-Gadda-Da-Vida 3:18 A3 Disorder 4:55 A4 Witching Hour 3:11 A5 Memories Of Tomorrow 0:54 A6 Hand Of Doom 5:13 A7 Wicked 6:00 B1 Born To Be Wild 3:05 B2 Unguarded Instinct 3:44 B3 Human Disease 4:19 B4 Scarstruck 3:29 B5 Addict 3:41 B6 Final Six 4:05 B7 Atrocity Vendor 2:53 (Verne Records/Fan Club Release)
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Reissue of "Eskizofrenia", Eskorbuto's first LP from 1984, one of the most influential punk albums in the Spanish and Latin American scenes. The LP showcases what they are known for: radicalism, a self-taught style and crude lyrics. The first blow of their anti-everything stand. Murky green vinyl, remastered for this edition, this vinyl cover artwork is the exact repro of the original 1984 release on Producciones Twins. Contains insert with liner notes and newspaper clippings. (Munster Records – MR-307)
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Released in 1983 on London's Legendary Mortarhate label, Conflict's debut broke all rules in punk rock, setting new standards and storming independent charts, reaching and retaining position number 1 for several weeks. Formed in 1981 and led by vocalist Colin Jerwood, who would remain one of the group's few constants throughout its 30 years of existence, and fueled by hatred for the media, the military and the general status quo of late century Thatcher's England, Conflict has been a stainless model for three generation of peace punkers, activists and anarchists from all over the world. (Radiation Records)
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The EP-LP was originally released in early 1986 after the band had split in November 1985, and collected for convenience the first four SUBHUMANS EPs onto one disc. This includes the fiery, six-track debut, Demolition War, that was first unleashed at the end of 1981, the powerful and provocative Reason For Existence and the perennial Religious Wars, both from 1982, and the intensely angry Evolution, from May 1983, whose title track rages so effectively against the senseless tragedy that is vivisection. Whilst never intended to be released as a full-length album when first recorded, most of the 18 tracks on offer are still staples in the band’s set to this day and hang together very cohesively as an essential body of work. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl (Pirate Press Records)
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As the title suggests, this 1986 album compiled the eight-track, Time Flies... But Aeroplanes Crash 12” EP, originally recorded and released in 1983, and the four-track, Rats 7” EP, that had been recorded during the summer of 1984 and released in early ’85. Rats might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first-world capitalism and third-world poverty. Whilst it’s something of a mish- mash,, with several rowdy live tracks and a few, very enjoyable re-recordings of old STUPID HUMANS songs (STUPID HUMANS being guitarist Bruce’s pre- SUBHUMANS band...), it contains two of the SUBHUMANS’ best-loved tracks: “Work Rest Play Die” and “Susan,” the latter something of an oddity as it’s a stirring piano piece with lyrics written by Steve Hamilton, an old friend of the band. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
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So named because the CD version originally clocked in time-wise at 29 minutes and 29 seconds, 29:29 Split Vision was recorded in December 1985 just after the band had split up, and they wanted to bring some closure to that period by recording the new songs they were working on at the time alongside some of their older material that hadn’t yet been properly recorded. Whilst the B-side hints at the underlying reasons the band split up—the inevitable ‘musical differences,’ with the three newest songs on the release literally worlds apart (excuse the pun) from their classic material—the five songs on the A-side are veritable belters, and 29:29 Split Vision remains a frustratingly fascinating offering from this most unconventional of punk bands. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
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Arguably the highlight of their ’80s output, the third SUBHUMANS album was recorded at Woodlands Studio, Castleford, during spring 1985 and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental “33322,” what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements, and dizzying time changes. With a front cover illustration inked by vocalist Dick, Worlds Apart saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks such as “Apathy,” “Businessmen,” and “Can’t Hear The Words,” but every single track on the album remains an understated masterpiece. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
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With their eclectic influences and scintillating musicianship, SUBHUMANS were never going to be content to trot out anarcho punk-by-numbers, but no onewas really prepared for the progressive brilliance of their sophomore album, From The Cradle To The Grave. Whilst the A-side contains nine short-sharp bursts of energised punk gleefully embracing allpoints of the spikey spectrum, from the breakneck thrash of “Reality Is Waiting For A Bus” to the ominous dirge of “Wake Up Screaming,” it is the ambitious title track that really captures the imagination: its sprawling, 16+ minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim—and only kept from the No. 1 spot in the independent charts by NEW ORDER! As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
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The astounding debut album that established the SUBHUMANS as a genuine force to be reckoned with, The Day The Country Died, captured both the band’s serious anarcho-punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant—probably his most recognisable piece of work for the band—has adorned countless thousands of jackets and t-shirts since. Recorded over just four days during the heady summer of 1982 and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important independent charts. This exhilarating collection of songs has endured for four decades with the band still regularly kicking their live set off with the opening track “All Gone Dead”. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. 600pcs. - 12" White & Black Galaxy Vinyl with Gatefold cover. Label: Pirate Press Records Barcode: 810017647965
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Fan Club reissue of this essential LA Punk album, not only were The Plugz one of the first Chicano punk bands in Los Angeles, CA in the late 70s along side fellow brown brothers The Zeros, they are also credited as being the first punk band in L.A. to make their own records on their own label Plugz Records. The band showed that, just like the Buzzcocks and their Spiral Scratch 45 record, you don’t have to wait around for a major label or anyone to make your record, just do it yourself. Though the Plugz were from L.A., singer/guitarist Tito Larriva was born in Juárez, MX and grew up in El Paso for part of his life. Electrify Me came out in 1979 and is a lo-fI DIY punk album heavy on the bass riffing, punchy guitar structures (with actual chords, not just all power chords) and catchy vocal harmonies made for great crowd sing alongs whenever they played live. If anything, the album leans heavy on power-pop which there was plenty of out in L.A. at the time. (Fan Club)
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Kalazaar was an anarcho-punk band from Athens,Greece. The band formed in 2006. ⒶTruth was formed in late 2007 with the idea to motivate the people around us to make a real social & political change, and to agitate consciousness. NYC anti-fascist anarchoi! punk. (Self Released)
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Barcelona's CIUDAD LINEAL finally deliver the follow up to their fantastic demo from 2013. A full length album of dark minimal wave heavily influenced by EL AVIADOR DRO Y SUS OBREROS ESPECIALIZADOS, THE NORMAL or CABARET VOLTAIRE. Armed with a bass guitar, drum pad, a keyboard and two synths CIUDAD LINEAL manage to create a conceptual piece around the idea of progress and industry as opposing forces. El Nuevo Hombre is divided into two parts each one comprising one side of the album. The A side being "The Splendor" and the B side "The Fall" joined by a speech symbolizing Mankind's awakening. The album throws shades of JOY DIVISION, DECIMA VICTIMA or even THE RESIDENTS leaving behind absolute hits like the freezing cold opening track "Horizonte" or "Industria" which to these ears is the closest anyone has ever came to being part of the LOS INICIADOS/FRACCION DEL EJERCITO ROJO/ AVIADOR family. While CIUDAD LINEAL'S sound is certainly rooted in the early 80's synth explosion the band remains fresh due to their lyrical approach as well as their DIY ethos. The LP was recorded at La Cova De la Bestia by Daniel Muerte and comes housed in a beautifully put together sleeve and insert designed by the band and printed on heavy 350 gsm reverse board. (La Vida Es Un Mus)
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It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts. This box set includes : •Morbid Tales (1LP red & black galaxy vinyl) •To Mega Therion (1LP gatefold Silver & black swirl vinyl) •Into The Pandemonium (1LP gatefold on orange and beige galaxy vinyl) •Emperor’s Return (Back on vinyl for the first time in 37 years. Green & black galaxy) •Tragic Serenades (12” EP on pink and black swirl vinyl) •I Won’t Dance (12” EP, back on vinyl for the first time in 35 years. White & black swirl vinyl) •The Collector’s Celtic Frost (12” single, back on vinyl for the first time in 35 years. Marble vinyl with silk screen print on Side B) •Visual Aggression (7” single with new artwork and on grey vinyl) •Grave Hill Bunker Rehearsals (Four track rehearsal demo cassette from 1984) •12” x 12” 40 page book of brand new interviews with founding member Tom G Warrior and drummer Reed St Mark. Contains rare and previously unseen photos from the era. •‘Heptagram’ figurine USB drive containing MP3 audio of all the albums, including bonus tracks. •Two sided, A2 poster. •‘Necromaniac Union’ fan club enamel badge. •‘Danse Macabre’ sew on woven patch. (Noise – NOISEBOX107, BMG Rights Management – NOISEBOX107)
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Lockjaw was an infamous Portland based Punk/HC band. Finally a proper full-scale reissue of this all time classic piece of Portland HC from 1982. This lot of punks were proper mean, rough and tumble assholes…the kind of thing that a place like Portland produces. There sure ain’t no frills going on around here, it’s straight to the throat and surly as hell. Limited edition of 200 copies on opaque blue vinyl, comes with insert. (Antidoto Records)
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This band released last year a demo tape with 4 tracks and i loved it. Got in contact with them and boom, few months later here you have the demo tracks plus two new unreleased rippers, 6 songs in total of raging US80's influenced Hardcore Punk, straight forward, no bullshit, non stop tupa-tupa delicacy that leaves you wanting more of their craft. Not a single filler here, just 5 great pissed off rapid fire hardcorepunk songs with a few properly placed breakdowns to help take your breath back with occasional guitar leads here and there to sweeten the deal and 1 mid tempo stomper that induces you to apply physical violence against anything around and beyond. (Mendeku Diskak)
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Having relocated from Boston to Amsterdam and established themselves firmly on the European live scene, Jaya The Cat began to make roads into the UK, hooked up with Bomber Music and got ready to release their fourth and greatest album yet - The New International Sound Of Hedonism. The album entered the breaker chart in Germany on it's release and to date has sold over 10,000 physical units in Europe. (Ring Of Fire Records – ROFR 009)
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Some lucky or curious people are already aware that we made a surprise special version of "Prisons Imaginaires" sent randomly to people who ordered on the mailorder. This limited release included a bonus records of demos and alternate versions of the songs of the album but also previously unreleased tracks. In front of the impressive number of requests to obtain this bonus record, we decided to release it again separately to make it accessible whether or not you have already purchased "Prisons Imaginaires". This new version comes with a variant of the magnificent artwork by Vincent Denis and it's packed in a proper sleeve and comes with insert lyrics sheet. This record includes the same 11 songs as the surprise bonus record no more no less ! (Destructure Records / Sabotage Records)
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Unmissable early and rare sessions compilation from 90's faves the Cranberries, including BBC radio broadcast from February 1992, the KROQ Universal Amphiteather broadcast from 1993, and a fully acoustic radio FM broadcast from 1994 in Atlanta. TRACKLIST SIDE A Peel Session, BBC Radio 1, England, 16 Feb 1992 1. Waltzing Back 2. Linger 3. Want 4. I Will Always KROQ XMAS Universal Amp, L.A., 11 Dec 1993 5. Dreaming My Dreams 6. Ode to my Family 7. Empty SIDE B 8. Linger 9. False 10. Zombie WNNX Studio, Atlanta, USA, 19 Aug 1994 11. Sunday (acoustic) 12. Zombie (acoustic) 13. Linger (acoustic) (Mind Control - MIND826)
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Συντηρώντας τη φωτιά κάτω από ένα εκ των πλέον αγαπητών υπο-ιδιωμάτων του extreme metal, οι Blame Kandinsky βάζουν ακόμα ένα λιθαράκι στην ιστορία του παραδοσιακού mathcore. Επιδεικνύοντας εξαιρετικές τεχνολογικές δεξιότητες και μια ακατέργαστη, old school death metal αίσθηση, ανεβάζουν τη δουλειά που γίνεται με τις προηγούμενες κυκλοφορίες τους σε νέα ύψη με αυτό το νέο άλμπουμ. Υπενθυμίζοντας σε όλους τι ήταν αυτό που έκανε τους The Dillinger Escaple Plan, Botch, Every Time I Die, Burnt By The Sun τις δυνάμεις που ήταν και αναμιγνύοντας το με τις διδαχές των Death της εποχής του "Sound of Perseverance", το Eclectic Ruiner είναι μια ξεκάθαρη ένδειξη του που βρίσκονται οι Blame Kandinsky του 2022. For fans of: Botch, Converge, Dillinger Escape Plan, The Chariot, Everytime I Die. • 12” 200gr Black Vinyl LP • Standard full color 4mm spine 300gr paper Outer Sleeve • Full Color printed 230gr paper inner sleeve (Venerate Industries)
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Εμμένοντας πιστοί στο θορυβώδες και ασυμβίβαστο noise rock που τους έδωσε την εδώ και χρόνια underground φήμη τους, οι Krause επιστρέφουν με τον πιο φιλόδοξο δίσκο τους. Το “The Art of Fatigue” αποτελεί το επιστέγασμα των τελευταίων ετών και ισορροπεί μεταξύ επιθετικότητας και ακρίβειας. Μια σειρά straightforward κομματιών hardcore/noise προσεγμένης αισθητικής και καταστροφικού attitude. For fans of: Melvins, Whores, Chat Pile, Unsane, Cherubs, Part Chimp, Today is the Day. • 12” 180gr Black Vinyl LP • Standard full color 3mm spine 300gr paper Outer Sleeve (Venerate Industries)
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An infamous collection of very early C.B. recordings (with the two piece line-up consisting of Alberto The Crippler on guitar/vocals and Giulio The Bastard on drums/vocals)..: 336 SONGS – ASTI NOISE-GRIND PUNK at its roughest stage. Official reissue of CB’s most circulated tape, originally released in 1992, finally consecrated on vinyl… an unbelievable bloodbath of lo-fi rawness going from the embryonic thrashing punk/grind days to the radical nihilism of the band’s noisecore phase. This tape was the roots of Italian grindcore and the link between the end of an era (the unforgettable furious years of Italy’s hardcore punk pioneers) and the beginning of a new one more based on noise and manic speed. Ripped from pristine 1st generation sources and painstakingly remastered song by song at Toxic Basement Studio in 2022 to celebrate the 30th year anniversary since its first edition, this is hands down the best sounding version to date. Includes A2 insert/poster with scans of the original tape, photos, liner notes and a massive reproduction of the 1992 flyer. (F.O.A.D. Records)
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The most exhaustive collection of early grinding works from this Austrian extreme metal legend! The roots of DISHARMONIC ORCHESTRA, everything they recorded before their classic debut album “Expositionsprophylaxe”. 43 songs – over 100 minutes of music compiling the following works: – Split LP with Pungent Stench (1989) – “Successive substitution” 7″ (1989) – “Requiem for the forest” Demo (1988) – “The unequalled visual response mechanism” Demo (1988) – Rehearsal/Demo 1988 – bonus private rehearsal 1988 (totally unreleased!) Grindcore inspired death metal in their own highly original style, blending angular, dissonant riffs with a unique rhythmic approach. From the very early demos and rehearsalsshowing the early steps in their inclination to channel heavy, lilting sounds in a deadly blender of hardcore edginessto the bone-crushing split LP and 1st EP recordings perfectly fitting the late ’80s Nuclear Blast death/grind panorama with cult bands such as Righteous Pigs, Defecation, Atrocity, Disastrous Murmur and Pungent Stench… Ripped from the band’s archival sources and lovingly remastered for the most deafening sonic impact. Vinyl version housed in a thick gatefold jacket including bonus CD and full colored booklet. (F.O.A.D. Records)
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Compilation of two 80's only cassette releases from this obscure and legendary female fronted UK Post Punk & Goth outfit from Stoke-on-Trent. 'Living By The Sword' was put out as a cassette single, and the 1986 cassette album 'Pain And Pleasure' was only available from the band at their gigs and through the mail, so this is the perfect chance to lay your hands on these sought after releases and get a nice dose of moody Uk After Punk. TRACKLIST A1 Living By The Sword A2 The Midnight Mountains A3 The Dark Ages A4 Walk In Darkness B1 Slapton Sands B2 Cherokee Boy B3 The Way You Want Me B4 Fashion Warfare B5 Shattered Glass ( Demo ) (Vomitopunkrock Records)
