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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 -
By 1985, Slayer, Exodus, Megadeth and Metallica had all released fantastic albums, speed metal had truly arrived in America. Digging a bit deeper, however, there was still a lot of great new underground talent coming through. One of these bands showing enormous promise was Destructor from Cleveland in Ohio. Their debut album »Maximum Destruction« was issued in 1985 by Auburn Records and received outstanding press reactions in North America as well as in continental Europe. “Cleveland had a very strong metal scene at the time,” explains vocalist and guitarist Dave Overkill. “Other bands were just established one, two or three years before we became a real band. There was Breaker, Black Death, Shok Paris and Sacred Few but no other band was playing as heavy and as aggressive as Destructor, so when we finally got a show people were amazed by our style. It was the bass player from Breaker, Ian Shipley, who introduced us to a wild and crazy drummer named Matt Schindelar in 1984. Matt immediately replaced the drummer we had at the time and the real Destructor was born.” In 1984, two demo cassettes were issued, »Smash Your Skulls With Power« and »Bring Down The Hammers«, before Destructor’s eponymous debut album »Maximum Destruction« saw the light of day in November 1985 on Auburn Records, thanks to Bill Peters. “Bill approached us after our first show and asked us if we wanted to record an EP,” recalls Dave Overkill. “We were young and hungry, so of course we said yes. Bill Peters was just starting to establish Auburn Records at this time. We didn’t know anything about the record business. Auburn did a great job for us. We had no complaints.” After the album, a further cassette called »Overdosed At WRUW« was issued in a limited edition of 100 copies. This was followed by two more tapes, »Decibel Casualties« (four tracks, 1987) and »Power Aggression« (nine tracks, 1988). This material was supposed to form the basis of a possible second album. However, as a possible deal with Island Records fell through and bassist Dave Holocaust was killed in an assault, the band threw in the towel: “Dave was like a brother to us. We loved Dave. We were in a downward spiral that we couldn’t seem to get out of. Then the 1990’s came and metal was replaced in the States with grunge. We missed our chance. Destructor called it a day after a show we played with the band Overkill in 1992. It all seemed useless to continue at this point.” Ltd 250, 2 bonus tracks. Label: High Roller
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"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, screwed pro music cassette, ltd 200, mastered by Patrick W. Engel at Temple of Disharmony. Label: High Roller
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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
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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:
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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
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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:
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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
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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
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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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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. White/ grey mixed vinyl, ltd 400, 425gsm heavy cardboard cover with 5mm spine, 4 page insert, poster, 2 track black vinyl bonus 7" with p/s and insert, 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: 4251267709694
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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. This Means War is their third album, released in 1983. On this album, the line-up expanded to a four-piece, with the addition of second guitarist Mick Tucker, former member of the NWOBHM band White Spirit. Thanks to Tucker's songwriting contributions and to the sound expanded by an extra guitar, the band changed their music in comparison with their previous albums with longer, more melodic compositions, which helped differentiate Tank from Motörhead, the band they were often compared to. Magenta 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: 4251267713288
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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. Filth Hounds of Hades is their debut studio album, released in March 1982 on the Kamaflage label. The album was produced by "Fast" Eddie Clarke of Motörhead, and recorded between December 1981 and January 1982 at Ramport Studios in London. The title came from Viv Stanshall's Sir Henry at Rawlinson End, originally a radio series recorded for the John Peel show in 1975, and later a 1978 album and 1980 film: "Filth hounds of Hades!: Sir Henry Rawlinson surfaced from the blackness, hot and fidgety, fuss, bother and itch, conscious mind coming up too fast for the bends, through pack-ice thrubbing seas, boom-sounders, blow-holes, harsh-croak Blind Pews tip-tap-tocking for escape from his pressing skull...." In an interview with Sounds, drummer Mark Brabbs said that "It came from Viv Stanshall's book and it just sounded apt 'cos we all like his humour. It just seemed to describe the sort of people who came to see us when we first started they were the same as us, just having a party, starting drinking each day at lunchtime, so it seemed apt, 'cos we called them The Filth even then, though not in a derogatory way!" Black vinyl, ltd 600, 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: 4251267713219
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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. Opaque red vinyl, ltd 400, insert, poster, A5 photo, 425gsm heavy cardboard cover, Transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in July 2022. Label High Roller Barcode: 4251267714407
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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. Honour & Blood is the fourth album by the British heavy metal band Tank, released in 1984. By the time of this album Algy Ward was the last original member of the group remaining, as the Brabbs brothers had been replaced by Cliff Evans on guitar and Graeme Crallan on drums (reuniting Crallan with his former bandmate in White Spirit, Mick Tucker). The album follows much the same format as the band's previous album This Means War, with seven songs, several quite lengthy, of melodic heavy metal primarily about the topic of war. However, the band explores some different subject matter on side two, as "W.M.L.A." and "Too Tired to Wait for Love", express frustration in love, while "Chain of Fools" is a cover of the 1967 hit by Aretha Franklin. Cyan blue 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: 4251267713318
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Crystal Logic is the third studio album by the American heavy metal band Manilla Road, released in December 1983. On this album the band fully embraced heavy metal, leaving behind the space, progressive and hard rock influences which could be found on the two previous albums. 1983's 'Crystal Logic' gets another repress. Comes on black vinyl and includes lyric sheet. Label: High Roller Records Barcode: 4251267712656
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The Deluge is the fifth album released by the American heavy metal band Manilla Road. It was originally issued in 1986. Label: High Roller Records Barcode: 4251267712106
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Completely unreleased versions of the songs you already know and love but still different enough that you’ll want to own this! In case you’re worried about recordings the quality is Excellent! Imported from US. Tracklist: A1 Some Kinda Hate A2 Hollywood Babylon A3 Last Caress A4 Hybrid Moments (Inst.) A5 Static Age A6 In The Doorway B1 Who Killed Marilyn? B2 Where Eagles Dare B3 Horror Business B4 Teenagers From Mars B5 Children In Heat B6 Who Killed Marilyn? 2 B7 Children In Heat 2 Label: Blank Records
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The mindblowing 2011 debut album by New Yorks BACKTRACK! This hard-hitting record was highly anticipated as their prior EP "Deal With The Devil" created a huge attention. It lead into a load of live gigs and tours all over the world. Founded in 2008, the band called it a day in 2019. They are sadly missed by the audience all over the planet. BACKTRACK live shows have always been intense and powerful. "Darker Half" is out of print since 2014. Official reissue, licensed via Reaper Records and Backtrack. Total run of 500 copies, this is the transparent red vinyl edition (400 copies). Label: Backbite Records
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Pure infernal armageddon, not for the weak!! One of the most deviated, disgusting and anti-musical death metal aberrations ever conceived. BACK ON VINYL IN ITS MOST COMPLETE VERSION exactly as the cassette version that was circulating in the 80s! Originally released in 1984, “Sons of evil” is the first demo recording from the malevolent and sinister German entity known as Poison. This sounds so raw and extreme that even the band members took their time to decide whether to license a vinyl reissue or not, and the graal got unlocked only when after years of research through the most insane puritan collectors, we tracked a source whose quality was even “better” than the masters owned by the band and got it properly restored and mastered by our wizard H.O.D. at Toxic Basement studio. So one thing is sure: this LP is the matchless, best sounding version of “Sons of evil” you can dream about. Now quoting what has been said already about this gem: as primitive and barbaric as a Stone Age gang-rape, this tape is possessed by total darkness and evil. Musically, this runs the gamut from morbidly mid-paced to intense and somewhat insane. It bears no real similarities to any of their German counterparts, such as Sodom, Destruction or Kreator. The slower parts sound very reminiscent of Hellhammer, with one very important exception: this is darker and more evil than Mr. Warrior and his cohorts ever could have hoped to be. The vocals of Virgin Slaughter are exactly what Tom should have been doing on releases such as “Satanic Rites”. Possessed and maniacal, at times, his demonic voice actually accentuates the dark mood of the music, rather than detracting from it. As for the rest of the songwriting, this is like a war on the senses. Primitive and violent in nature, the riffs saw through you while the drums pound your skull into oblivion. It is almost difficult to believe something so bestial and grotesque existed back in 1984. The sound is on the same level as the “Death By Metal” demo, from Mantas, and makes the old Venom and Bathory records seem like they were done in high-dollar facilities. “Sons of Evil” is a monstrous offering from a band that had truly tapped into something dark and aggressive. Includes poster and an old school fanzine style booklet with rare photos, flyers and excerpts from zines/mags of that era. Solid black vinyl limited to 200 copies. Label: F.O.A.D. Records
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Pure infernal armageddon, not for the weak!! One of the most deviated, disgusting and anti-musical death metal aberrations ever conceived. BACK ON VINYL IN ITS MOST COMPLETE VERSION exactly as the cassette version that was circulating in the 80s! Originally released in 1984, “Sons of evil” is the first demo recording from the malevolent and sinister German entity known as Poison. This sounds so raw and extreme that even the band members took their time to decide whether to license a vinyl reissue or not, and the graal got unlocked only when after years of research through the most insane puritan collectors, we tracked a source whose quality was even “better” than the masters owned by the band and got it properly restored and mastered by our wizard H.O.D. at Toxic Basement studio. So one thing is sure: this LP is the matchless, best sounding version of “Sons of evil” you can dream about. Now quoting what has been said already about this gem: as primitive and barbaric as a Stone Age gang-rape, this tape is possessed by total darkness and evil. Musically, this runs the gamut from morbidly mid-paced to intense and somewhat insane. It bears no real similarities to any of their German counterparts, such as Sodom, Destruction or Kreator. The slower parts sound very reminiscent of Hellhammer, with one very important exception: this is darker and more evil than Mr. Warrior and his cohorts ever could have hoped to be. The vocals of Virgin Slaughter are exactly what Tom should have been doing on releases such as “Satanic Rites”. Possessed and maniacal, at times, his demonic voice actually accentuates the dark mood of the music, rather than detracting from it. As for the rest of the songwriting, this is like a war on the senses. Primitive and violent in nature, the riffs saw through you while the drums pound your skull into oblivion. It is almost difficult to believe something so bestial and grotesque existed back in 1984. The sound is on the same level as the “Death By Metal” demo, from Mantas, and makes the old Venom and Bathory records seem like they were done in high-dollar facilities. “Sons of Evil” is a monstrous offering from a band that had truly tapped into something dark and aggressive. Includes poster and an old school fanzine style booklet with rare photos, flyers and excerpts from zines/mags of that era. Solid black vinyl limited to 200 copies. Label: F.O.A.D. Records
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3rd installement in FOAD’s deadly mission of bringing back to light POISON’s official demotapes in the most complete and pristine shape. After their terrifying first two abominations (“Sons of evil” – 1985 and “Bestial death” -1985) and a live tape, 1986 sees these pioneering German maniacs deliver another nightmarish assault of dark, creepy death metal. It’s the turn of “Awakening of the dead” that even showing some kind of progress in their brutal primitivity and a 4-track production, still delivers the insane rawness and hallucinating morbidity they were feared for. On a promo sheet of the time they were describing it as follows: “POISON play a very extreme mixture of ultra-fast + ripping death metal and more classical, Black Sabbath-inspired doom stuff, without trying to follow and special trend or ripping off any famous band”. It’s all there, think of a death chamber unleashing the most stabbing screams of terror in a chtlulhu-ish pace alternating blasts of uncontrolled fury with Hellhammer tinged breakdowns. Once again mastered at Toxic Basement Studio from the best sounding source in existence still keeping the impact and genuinity of the original sound as it was on tape. Deluxe sleeve with restored original artwork, poster and a 16 page fanzine styled booklet including old interviews, reviews, flyers and rare photos. Licensed and approved by the band! Solid black vinyl limited to 200 copies. Label: F.O.A.D. Records
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New Jersey's REGURGITATION were the first musical incarnation of James Plotkin (later in O.L.D., Khanate, etc.) and a true cult in the late 80s tape-trader scene. Those familiar with O.L.D.'s debut album, "Old Lady Drivers," released on Earache in 1988, will probably remember that the cover had a sticker that read "Insane Mega-Speed Thrash with crazy vocals. Highly original hardcore from the former members of REGURGITATION." Well, this is that band and here you have their complete discography transferred from the original reels and mastered by the genius of James Plotkin himself. 13 songs of superfast Death/Thrashcore (or simply early Grind) with those distinctive and caustic vocals that later became a trademark of O.L.D. Forget the poor quality bootlegs you may have seen around, this collection is without a doubt the most comprehensive and best sounding offering. It compiles the two demos "Organic backwash" (1986) and "Bathrooms rule" (1987) + "Pesticide" from "Speed Metal Hell Vol. 3" and some great soundboard live recordings. The LP is housed in a thick gatefold sleeve that includes extensive liner notes by J. Plotkin and Jon "Metalion" and includes a fanzine-style booklet with photos, original cassette artwork, rare flyers and zine excerpts. Label: F.O.A.D. Records
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Out of print for nearly 20 years, here's a top quality reissue of RxDxPx's re-recorded version of their first seminal album "Crucificados pelo sistema" (1983). "Sistemados pelo crucifa" was originally recorded in 1999, mixed by Billy Anderson and released in 2001 by Alternative Tentacles and Peculio Discos. Absolutely punishing, no frills hardcore thrash from these indestructible Brazilian punk pioneers smashing eardrums since 43 years... All their early anthems revisited at neck-breaking speed + 1 exclusive bonus track!!! LP with pantone bronze laminated cover and fold-out insert with lyrics, liner notes and photos. Quoting the introduction done back in the day by Alternative Tentacles: "this new version of Crucificados Pelo Sistema captures the rare chemistry of the current members performing the band’s classic songs. This time around, the album benefits from the technical wizardry of engineer Billy Anderson (LOGICAL NONSENSE, MELVINS, NEUROSIS), who mixed their first AT release, Carniceria Tropical (1998). RDP’s Portuguese lyrics focus on day to day life in Brazil, spotlighting political and social issues. They present a positive outlook and speak of creating a better future, while tempering their optimism with a strong hint of dark humor. Sistemados Pelo Crucifa is testimony to RDP’s enduring reign as HC champions!" Solid black vinyl limited to 350 copies. Label: F.O.A.D. Records
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Official reissue of the devastating 3rd thrash opus by the undisputed godfathers of the most furious and influential Brazilian crossover HC of all eras! DOUBLE LP with both versions recorded at the time (1988): the one sung in Portuguese and the one in English released as "Dirty and aggressive". A lethal overdose of ultra-addictive riffs, vitriolic vocals and a dizzying rhythm session. Deluxe gatefold sleeve with 24"x12" foldout insert collecting rare photos from that era, lyrics in both languages and Igor Cavalera's iconic rat artwork!! After two blistering fast hardcore records ("Crucificados pelo sistema" and "Descanse em paz"), Gordo and his fellow bandmates delivered this great gem of hatred and caustic criticism. This album quickly became legendary, paving the way for "Brasil", their most acclaimed album, Fierce, powerful and greatly written, played and produced, "Cada dia mais sujo e agressivo" is an absolute must-have fo fans of godly good thrashing crossover! Solid black vinyl limited to 350 copies. Label: F.O.A.D. Records
