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After four years of silence, instrumental metal standard bearers Pelican have come thundering back, with Forever Becoming, an eight-song album destined to be considered one of the most punishingly rewarding albums of the year. Before their hiatus, the group had laid a sizable chunk of the groundwork for the instrumental metal scene that’s come into its own in the 13 years since they started playing together. After 2009 the band found itself slightly adrift, and found the day to day struggle of being full-time underground musicians colliding with new families and non-musical careers. Wisely, they didn’t make any rash decisions, and as suits a band known for making dense, meditative sounds they simply patiently figured out how to move past their obstacles. This reborn Pelican is purer, more focused, and far more assured. Recorded at Electrical Audio in Chicago with engineer Chris Common, and featuring The Swan King guitarist Dallas Thomas (replacing the amicably departed Laurent Schroeder-Lebec) Forever Becoming is an immense, speaker-rattling meditation on the infinite cycle of death and life. It takes a lot of experience and a lot of confidence to attempt a head-on ascent of the biggest, most monolithic theme in art, but Forever Becoming is proof that Pelican has plenty of both, and knows how to wield them. Design by Stephen O’ Malley. Label: Southern Lord Records -
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Ataraxia/Taraxis is the long-awaited follow-up to PELICAN’s sprawling 2009 full-length What We All Come to Need. With members now residing in different cities the EP represents a new chapter in the band s evolution. The four new songs highlight the manifold sonic strengths of the band by delving into moments of triumphant melodic rock, smokey doom, ambient soundscape, acoustic desert-folk and minimalist electronics. The carefully crafted track listing boasts a cohesive narrative flow, lending the release of a truly epic feel, worthy of a full album. Track Listing 01. Ataraxia 02. Lathe Biosas 03. Parasite Colony 04. Taraxis Label: Southern Lord Records
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Nighttime Stories marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album, the quartet endured a slew of realizations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career. Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” (on which Dallas performed his guitar parts on his father’s Yamaha acoustic). Label: Southern Lord Records
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Nighttime Stories marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album, the quartet endured a slew of realizations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career. Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” (on which Dallas performed his guitar parts on his father’s Yamaha acoustic). Label: Southern Lord Records
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The heavy darkness that started it all! Southern Lord reissues its very first ever release on vinyl. Circa 1995: Thorrs Hammer was a short-lived doom/death metal band from Seattle, Washington, USA. The group consisted of Runhild Gammelsæter, a Norwegian exchange student living in the US, on vocals, guitarists Stephen O’Malley and Greg Anderson, bassist James Hale, and drummer Jamie Sykes. The band played 2 shows and recorded “Dommedagsnatt” before splitting, with Runhild opting to concentrate on her education (she now has a Ph.D.!) while O’Malley, Anderson, and Sykes went on to form Burning Witch. O’Malley and Anderson also perform as Sunn O))). “ Limited edition Grey vinyl! Label: Southern Lord Records
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The heavy darkness that started it all! Southern Lord reissues its very first ever release on vinyl. Circa 1995: Thorrs Hammer was a short-lived doom/death metal band from Seattle, Washington, USA. The group consisted of Runhild Gammelsæter, a Norwegian exchange student living in the US, on vocals, guitarists Stephen O’Malley and Greg Anderson, bassist James Hale, and drummer Jamie Sykes. The band played 2 shows and recorded “Dommedagsnatt” before splitting, with Runhild opting to concentrate on her education (she now has a Ph.D.!) while O’Malley, Anderson, and Sykes went on to form Burning Witch. O’Malley and Anderson also perform as Sunn O))). “ Label: Southern Lord Records Barcode: 808720000115
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The heavy darkness that started it all! Southern Lord reissues its very first ever release on vinyl. Circa 1995: Thorrs Hammer was a short-lived doom/death metal band from Seattle, Washington, USA. The group consisted of Runhild Gammelsæter, a Norwegian exchange student living in the US, on vocals, guitarists Stephen O’Malley and Greg Anderson, bassist James Hale, and drummer Jamie Sykes. The band played 2 shows and recorded “Dommedagsnatt” before splitting, with Runhild opting to concentrate on her education (she now has a Ph.D.!) while O’Malley, Anderson, and Sykes went on to form Burning Witch. O’Malley and Anderson also perform as Sunn O))). “ Limited edition Cloudy clear vinyl! Label: Southern Lord Records
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Goatsnake was formed in 1996 by guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool) , and the mega rhythm section of Greg Rogers (drums) Guy Pinhas (bass) from underground heavy legends the Obsessed. Their now-classic debut album appropriately entitled: I (one) was originally released by Mans Ruin records in 1999. 8 songs that gracefully combine monolithic, Sabbathy riffs with soulful vocals to create a monumental album. It has now been reissued as a single vinyl lp as it was originally released for the first time since 1999. Label: Southern Lord
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Denmark’s SORT SIND were born out of the ashes of sulfuric might in 2020, into a darkness of corrosion of the mind, with the members currently hailing from the likes of Hyperdontia, Ascendency, Had, Sulphurous, and Taphos (and formerly of Phrenelith). Soon, the duo released a two-song demo, portending grave deeds on the horizon… At least, that horizon looms with I Skyggen af Livet, SORT SIND’s debut full-length. A new dark chapter, the album consists of eight songs in a swift 32 minutes. SORT SIND’s surging & slipstreaming attack is far more epic than those compact runtimes suggest; with shadows swirling through the maze of their twisted minds, the duo construct muscular, deathened black metal that reminds of the late ’90s vanguard whilst emitting a freshness of approach. Put another way, I Skyggen af Livet has few modern analogues: SORT SIND are their own entity of vengeful, grim misery. No matter what genre boundaries one places around it, the duo’s debut album unshackles itself and takes the listener on a journey downward through the spiral of madness, revealing new layers of dementia the more that listener submits to their coming of chaos. Classic black/death songcraft, then, but suffused with restless, red-eyed energy – I Skyggen af Livet is only the beginning of SORT SIND. This is black metal darkness! Gold/Black Marble vinyl. Label: Nuclear Winter Records
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Denmark’s SORT SIND were born out of the ashes of sulfuric might in 2020, into a darkness of corrosion of the mind, with the members currently hailing from the likes of Hyperdontia, Ascendency, Had, Sulphurous, and Taphos (and formerly of Phrenelith). Soon, the duo released a two-song demo, portending grave deeds on the horizon… At least, that horizon looms with I Skyggen af Livet, SORT SIND’s debut full-length. A new dark chapter, the album consists of eight songs in a swift 32 minutes. SORT SIND’s surging & slipstreaming attack is far more epic than those compact runtimes suggest; with shadows swirling through the maze of their twisted minds, the duo construct muscular, deathened black metal that reminds of the late ’90s vanguard whilst emitting a freshness of approach. Put another way, I Skyggen af Livet has few modern analogues: SORT SIND are their own entity of vengeful, grim misery. No matter what genre boundaries one places around it, the duo’s debut album unshackles itself and takes the listener on a journey downward through the spiral of madness, revealing new layers of dementia the more that listener submits to their coming of chaos. Classic black/death songcraft, then, but suffused with restless, red-eyed energy – I Skyggen af Livet is only the beginning of SORT SIND. This is black metal darkness! Label: Nuclear Winter Records
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Drawing from the bands 21 years’ experience, this album is set to solidify Darkest Hour’s legacy as a metal power house. Raw as all hell, musically complex, melodic, yet cutting with razor blade precision, Darkest Hour’s 9th full length record, Godless Prophets and the Migrant Flora is fierce and hungry for blood. Label: Southern Lord Recordings Barcode: 808720023916
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Their final chapter of Satanic Instrumental trigonometry. If Meshuggah wasn’t silly, were math majors & worshipped the horned one….Loincloth Packing nine new passages into a half-hour assault on Psalm Of The Morbid Whore, white-knuckled twists wrench in one’s gut like a rusted blade, though the by-the-throat percussive attack and tonal attributes are already enough to suffocate the listener. As with their 2012-released Southern Lord debut LP, Iron Balls Of Steel, LOINCLOTH returned to Pershing Hill Sound in Raleigh, North Carolina to record with Greg Elkins, while mastering is helmed by Brad Boatright (Sleep, NAILS, Obituary) at Audiosiege. LabeL Southern Lord Records
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A blackened/death/ sludge behemoth from Seattle, WA. Started in 2014 out of a mutual interest in exploring dissonant and punishing sounds and inspired by bands such as Portal, Incantation, Blut Aus Nord, and Swans. Hissing guitarist: Joe O’Malley is the younger brother of Sunn O)))/Burning Witch/Khanate/KTL guitarist Stephen O’Malley and yes the grimm darkness runs in the blood…. Label: Southern Lord Records
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Built upon the crushed dreams of many aspiring country singers off music row, some local Nashville dudes accidentally formed the satanic thrash-rock juggernaut ASSCHAPEL. Only to find themselves self destructing into hell 7 years later without a trace. Behold the only remaining relic of their existence with these 31 wretched tracks of "total destructuion (1999-2006)" - includes 13 song "live through destruction" DVD ASSCHAPEL was born out of the extremely important '90s Nashville hardcore scene along bands like: HIS HERO IS GONE. Lead Guitarist: Dallas Thomas now plays in legendary instrumental behemoth: PELICAN. 2xLP housed in double-LP deluxe stoughton gatefold-jacketed package with a poster insert and 13-song “Live Through Destruction” DVD. (Southern Lord Recording)
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North Carolinas’ Torch Runner viciously bring forth a volatile, pissed-off brew of metallic, downbeat punk/hardcore/grind, for fiends that are into filth like: (OLD) Napalm Death, Dead In The Dirt, Weekend Nachos and Nails. This is a cd release of their debut album that was previously only available on vinyl. Their forthcoming album will be released on Southern Lord in a few months. Label: Southern Lord Records
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Axis of Despair features former and present members of such bands as Nasum, Coldworker, Infanticide, Volturyon, Livet som insats, Nervgift and Overtorture. To be exact: The band was formed by former Coldworker members Anders Jakobson (drums), Oskar Pålsson (bass) and Joel Fornbrant (vocals) in the end of 2013. About half a year later the line up was completed by Livet som insats member Kristofer Jankarls playing the guitar. The band continued to work on songs until the late spring of 2015 when the first 12 tracks were recorded to be released on two, sort of, conjoined 7″ EP’s. “Contempt For Man” is the swedish grind super-groups first full-length album. It is a pulverizing bull dozer of intense grind-core. Label: Southern Lord Barcode: 808720025712
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Dark, political, metallic crust that completely devastates! Hailing from Wisconsin , Wartorn has been pounding it out for over 8 years. The band features members of: Dresden, Remission, and Words That Burn They have several previous releases on renowned crust/punk labels such as: Profane Existence, and Crimes Against Humanity. The production and song writing on Iconic Nightmare is leaps and bounds ahead of any of their previous releases. For fiends of: Wolfbrigade, From Ashes Rise, Tragedy. LabeL Southern Lord Records
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Rein Sanction was a group of reclusive sonic explorers from the 90s. They released two massively powerful and beautiful albums on Sub Pop only then to basically implode into tragic obscurity. Dark, intense, wall of sound guitars akin to Hendrix meets Neil Young with heart-wrenching, emotive vocal emanations. Their first ever LP was originally only pressed in extremely small quantities. This is a remaster, reissue of this first self titled offering from this gorgeous beast. Regular version on black vinyl, hand-numbered #/500. Label: Southern Lord Records Barcode: 808720026115
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"The now legendary NOOTHGRUSH from the Bay area was berthed in the spring of 1994 by founding members Gary Niederhoff on Bass and Chiyo Nukaga on drums. Over the next year the band had various other members including Matt Harvey (Exhumed, Repulsion) on 2nd guitar. It wasn’t until guitarist Russ Kent joined in early 1995 that the classic NOOTHGRUSH lineup was complete! NOOTHGRUSH played 145 shows, toured the U.S. and Quebec for 7 weeks, did numerous west coast, and southwest tours. The band was well known for their consistently bludgeoning assault played at slow as boiling tar tempos. NOOTHGRUSH ceased to exist in 2001, as the band sought to develop new material and not be forced to perform the old repertoire. Unfortunately, involvement with other bands, jobs, etc. kept NOOTHGRUSH from developing. "Live For Nothing" is a compilation of two live on the radio broadcasts the band did in the 90s. One is from KZSU from 1996 and the other from KFJC in 1999. Both recordings are a precise document of the powerful group in their prime. The recordings were mastered by Brad Boatright (From Ashes Rise guitarist) and breathe black fumes of toxins once again!" Track Listing 01. Sith 02. Gage 03. Jundland Wastes 04. Evazan 05. Erode The Person 06. Derrells Porno Song 07. Dianoga 08. Procreation Of The Wicked 09. Oil Removed 10. Made Uncomfortable By Others Pain 11. Flee From Hunger And Disease 12. Starvation 13. Useless 14. A People Defeated 15. Derrells Porno Song 16. Stagnance 17. Hatred For The Species 18. Friends Of Mine Label: Southern Lord Records
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, Big Boys, in the early 80s was no exception. Where peers Scratch Acid, The Dicks, and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation, and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band. Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981’s debut album Where’s My Towel was inspired by the group’s growing dissatisfaction with their part in the release of Live At Raul’s. Returning with Lullabies Help The Brain Grow two years later, they were still striking out at situations around them. The opening track, “We Got Your Money” is a sort of rally cry to the misunderstandings of their scene and to the fraternity boys and girls that came to gawk or cause trouble: “And to all you frat boys/We got your money in our hands!” they shouted gleefully. Song titles including “We’re Not In It To Lose,” “Fight Back,” and “Assault” proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr, and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound,” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock,” the nascent version of the world-conquering skate punk of the late 1980s and 1990s. Now, Light In The Attic’s Modern Classics Recordings imprint is bringing their pioneering music to a new audience. Following the 2013 re-release of Where’s My Towel / Industry Standard, 2014 saw reissues of both Lullabies Help The Brain Grow and the following year’s No Matter How Long The Line Is At The Cafeteria, There’s Always A Seat, which brought the band’s story to a close. Famously, the Big Boys would end shows with the foursome shouting, “OK y’all, go start your own band.” Their message was inclusion – and action. Start a band, write a zine, participate. So what are you waiting for? Listen to this record. Label: Touch and Go Barcode: 0036172107131
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Active for five years in the early 1980s, the Big Boys mixed furious hardcore with loose-limbed funk and tight pop structures, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and clever humor. They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them. Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on Common Beat, a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s. Now, Light In The Attic imprint Modern Classics Recordings is bringing the music of these pioneers to a new audience. Following the 2013 re-release of debut Where’s My Towel / Industry Standard, 2014 saw reissues of second album Lullabies Help The Brain Grow alongside this final record. Just as the album flirts between expressions of boredom and anger and funk jams that declare “Life is just a party” (”What’s The Word"), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: “We’re the band, you’re the band,” they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. “We never really decided to ‘break up’, it just happened,” said Kerr. “We had been on a two month tour, and it got to be exactly like being in a station wagon with mom and dad with your brother and sisters… lots of tension and everything.” Along with an appearance in the documentary American Hardcore and these new reissues, the band’s legacy continues in current bands, like Fidlar, Wavves, and The Orwells, and in the mark they made on Austin, Texas, which, in tribute to the band, adopted the name of their song, “Fun Fun Fun” for an annual arts/music festival. Keep Austin weird? Big Boys made Austin weird. Label: Touch and Go Barcode: 0036172107230
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Industry Standard (usually extended to Where's My Towel/Industry Standard) is debut studio LP. It was released in 1981 on vinyl through Wasted Talent Records, operated by members of the Judy's. The album's title and many of its themes were inspired by a growing dissatisfaction with elements of the Austin, Texas punk rock scene from which the Big Boys had spawned. Label: Touch and Go Barcode: 0036172107032
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Chaos is here! Legendary Tokyo raw punks, THE LAST SURVIVORS early material finally collected in one place. The Last Survivors sent shock waves through the Japanese punk scene showing there was more than just punk, or just hardcore. The Last Survivors were RAW PUNK! The catchy sounds of UK82 and 70s punk fused with early raw HC from across the globe, particularly in Sweden and Finland. A flawless combination that inspired countless bands that followed. As Jacky Crust War says in the liner notes "There were some bands we couldn't ignore. That was the one, The Last Survivors." This LP collects their 7"s on Crust War, Dan-Doh, and Pogo 77, as well as other rare tracks. Fully re-mastered for vinyl, and sounding better than ever. Liner notes by Jacky Crust War (Framtid), So (Hardcore Survives), and Sakurai (Centipede / The Addiction) Label: General Speech Records
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Documenting the band’s final era, when hardcore gigs in Sapporo were banned, and still had to be organized in private recording studios with seating. Before bands like Gai and Confuse existed on the opposite end of Japan, Real Control shows Deef diving into a totally raw and abrasive hardcore style, issuing a challenge for bands to leave the typical sounds of their peers in the dust, and replace it with something more fitting of the anger and frustration of the cold war era, and if you weren’t going to, their opening salvo chanting the mantra “We Kill All Punk Rock Heroes” proved that they would. Real Control contains the second tape in its entirety, as well as their unreleased 1983 session recorded live at Studio Puff, which shows the band at their rawest, most unhinged, and most furiously hardcore, and at the time, more raw than most any band on the planet. The audio has been specifically remastered for vinyl and sourced from the original master tapes. The LP includes a booklet with color and black and white photos, flyers, and liner notes and history in both English and Japanese. Label: General Speech Records
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Deef, forming in 1979 in Sapporo City, Japan evolved from a school-age free jazz group into a raw hardcore band influenced by the global explosion of political punk and hardcore, as well as Japanese bands like The Stalin. During the early era, their Anti-Emperor gig series “Ten-Nou” was targeted by right wing groups, facilitating a change to the more clandestine “Nou-Ten” Gig, a phonetic play on words changing it’s meaning at face value. Keeping in mind their first cassette, 脳, was released before the Outsider Omnibus LP (GISM, Gauze, Comes, etc) when there were very few points of reference for DIY hardcore in Japan, the tracks on this LP show Deef pushing the envelope with the sound and intensity of their music comparative to their peers. This LP version of 脳 includes the first cassette in its entirety, tracks from the infamous, and almost non-existent Nouten Rockers omnibus from 1982, a completely unreleased studio EP session, and a furious live set from their earliest era, which shows some of the earliest influence of Discharge on Japanese hardcore. The audio has been specifically remastered for vinyl and sourced from the original master tapes. The LP includes a booklet with color and black and white photos, flyers, and liner notes and history in both English and Japanese. Label: General Speech Records
