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Compilation of early 70s singles and later archival recordings by pioneering Mexican proto-doom and stoner rock band.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Oxblood Red vinyl, limited to 400 copies. Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

,No More Like This" beschäftigt sich mit Themen wie Sehnsucht, Spiel, Hingabe, Unterwerfung, Wiederholung und Reflexion, eingebettet in die Idee der Prägung - dem bleibenden Eindruck, den Menschen und Erfahrungen in uns hinterlassen. Es ruft in der Morgendämmerung, streckt sich zum Himmel, mit Charakteren, die oft zwischen Unterdrückung und Befreiung gefangen sind und auf der Oberfläche von etwas Größerem schweben. Dieses Album taucht in die Unterdrückung als Ablehnung von Authentizität ein. Es reflektiert darüber, wie wir uns falsch erinnern und unsicher bleiben, was wahr oder real ist. Eingetaucht in die Gewässer der Wünsche anderer, fragt das Album: Was wünschen wir uns wirklich? Wie können wir wissen, was ein echtes Verlangen ist? Klanglich verbindet ,No More Like This" Trip Hop, Electronica, Alternative, Techno und Indie und lässt sich von Künstlern wie MF Doom, Massive Attack und The Knife inspirieren. Diese reichhaltige Fusion schafft eine strukturierte Atmosphäre, die die Themen Prägung und Transformation widerspiegelt.

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

Unter dem dunklen Mond werden die Kerzen angezündet, und aus der Tiefe erhebt sich Ritual Arcana. Eine dreiköpfige Klangmaschine mit der Hohepriesterin SharLee LuckyFree am Bass und Gesang (ehemals Moth), dem legendären Godfather of Doom Scott WINO Weinrich an der Gitarre (The Obsessed, Saint Vitus, Spirit Caravan) und dem Taktgeber Oakley Munson am Schlagzeug (The Black Lips). Die alten Tore des Schicksals öffnen sich durch Schlüssel, Schwert und Feder, als Ritual Arcana im Januar ihr Debütalbum bei Heavy Psych Sounds veröffentlichen. Durch die Kraft des übernatürlichen Hardrocks beginnt das Ritual, und wir befreien uns selbst.

Purple Vinyl, limitiert auf 350 Exemplare. Unter dem dunklen Mond werden die Kerzen angezündet, und aus der Tiefe erhebt sich Ritual Arcana. Eine dreiköpfige Klangmaschine mit der Hohepriesterin SharLee LuckyFree am Bass und Gesang (ehemals Moth), dem legendären Godfather of Doom Scott WINO Weinrich an der Gitarre (The Obsessed, Saint Vitus, Spirit Caravan) und dem Taktgeber Oakley Munson am Schlagzeug (The Black Lips). Die alten Tore des Schicksals öffnen sich durch Schlüssel, Schwert und Feder, als Ritual Arcana im Januar ihr Debütalbum bei Heavy Psych Sounds veröffentlichen. Durch die Kraft des übernatürlichen Hardrocks beginnt das Ritual, und wir befreien uns selbst.

With their bold blend of doom metal roots, atmospheric rock, and ethereal vocals, THE GATHERING were already reshaping heavy music in the mid-90s. But few recordings capture that electric live energy better than their iconic set at Dynamo Open Air , and now, for the very first time, this legendary moment finally arrives and it's everything fans could hope for. Expertly released by 7 Mater / Sevan Mater, this deluxe edition is limited to 500 copies each on Black and Purple vinyl, with a custom cover artwork designed by Sevan Mater that honors the spirit of the era while bringing new visual depth. It's not just a reissue - it's a resurrection. Recorded during a time when the band was ascending into cult status, the Dynamo performance showcases the perfect fusion of Anneke van Giersbergen's soaring vocals with the band's dynamic instrumental interplay. Songs like "Eleanor", and "Leaves" ring out with clarity and emotion, capturing both the power and subtlety that defined their live presence

“Innovative, hooky and full of depth” - Far Out Magazine

“Songs that lodge into your brain in the opening ten seconds” - Brooklyn Vegan

“Breezy, melodic… a clear ear for a hook” - UNCUT

“Playful and unexpected, emotional but not overstated” - CLUNK

‘Crows’ is the new single from Bristol’s Langkamer and the first to be revealed from their new album ‘No’, which is due for release on 22nd January 2026. Their fourth album in as many years, ‘No’ saw the prolific band taking to the mountains at the invitation of veteran producer Remko Schouten (Pavement, Personal Trainer, Bull). The much loved Bristol band holed up for a week in the wilds of Southern Spain at his brand new Zarzalico studio. Over a week, under the Murcian heat, they laid down the perfectly formed eleven tracks that make up ‘No’.

Since the band’s conception, Langkamer have worked out of anywhere affordable and available, whether it be the basements of renowned venues (‘West Country’, ‘Red Thread Route’, ‘Langzamer’) or secluded cottages (‘The Noon And Midnight Manual’). Over the years, their frenetic pace and quality of writing has earned them fans across the world, plaudits at UK media, and built an ever-growing musical community around them - not least via Breakfast Records - the independent label that is home to Getdown Services - formed by Langkamer’s Dan Anthony and Josh Jarman in 2006 alongside acclaimed singer-songwriter Jasmine 4.T.

To call Langkamer ‘your mid-level indie bands favourite mid-level indie band” sells them short. They have always scraped by on irregular incomes, plagued both by daily financial pressures and the occasional cash sinkhole so well known to any musician in the current impossible climate. Once Schouten offered to host them at his new studio (Zarzalico), they couldn’t refuse. A relentless recording schedule found the group only breaking for the daily long lunch and to occasionally fire an airgun across the hills. If the last half a decade had been a pressure cooker of constant touring and recording, their brief time in the remote Zarzalico could not have been more symbolic. Lead single ‘Crows’ perfectly captures this nervy balance and is a wiry slice of atmospheric proto-punk, drawing from the shadows of the late-70s UK landscapeit also defies these conventions, striking an anthemic chord from beginning to end. From the scaling chromatic guitars at the breakdown, to the final chants of ‘suffer’ and ‘struggle’, there’s a loud desperation and defiance to ‘Crows’ that lends it an unparalleled urgency. As singer/drummer Josh Jarman states:

“Crows is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism. Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”.

With ‘No’ arriving early next year, ‘Crows’ is the perfect introduction to Langkamer, a band that has only taken new bold steps with each release, always hiding a keen experimentalism behind a charming hook. It is also the surest sign yet that they are ready to step up, and take on the road once again vision unclouded.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. Led by guitarist and vocalist Patrick Walker, every moment of WARNING's Watching from a Distance feels monumental; the album is widely considered to be one of the most emotionally-driven and profoundly Doom Metal records. From the onset, the album's eponymous opener crawls with a sombre melody that carries the emotional heft of WARNING's musings on love and longing. The band's classic track "Footprints" showcases Walker's ability to match his colossal riffs with a visceral, gut-wrenching vulnerability that was previously unheard of. Walker ruminates about his weakest moments; his vocal deliveries ranging from dejection to despair. The end result is truly "heavy" in every sense of the word - and a timeless take on the genre with thundering drums, lead-pipe backing bass, and swirling guitars. Fast-forward to the present day, and WARNING's introspective sensibilities resonate as hard as they ever have. Watching from a Distance showcases a band and moment in time that honed in on what "Doom" could really be. "I leave behind me the ruins Of the fortress I swore to defend I leave behind me foundations, I'll leave you a man I'll need you to mend And through all the battles around me I never believed I would fight, Yet here I stand a broken soldier, Shivering, naked, in your winter light" Short: WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. FFO: Yob, My Dying Bride, Katatonia, Candlemass, Pallbearer, Pagan Altar, Khemmis

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

Trouble’s absolute classic: the legendary album from 1990 and the pinnacle of Trouble’s impressive career. Heavy Metal was never better than this! Includes a live bonus CD recorded in Dallas, Taxas (USA)! Trouble’s debut album did great things for Metal and remains one of the darkest, thrashiest Doom albums to date. A lot of things can change in six years, especially when you’re talking Metal and the dates are 1984 and 1990. The decade may have changed them, but not in a way that suggests decay or a decline in the quality of their resolve or their skill as musicians and performers. On the contrary, Trouble’s 1990 self-titled release is arguably their most mature, boasting a fleshed out sound with unparalleled songwriting, a great production, and the time-crafted vocals of Eric Wagner which had improved major in the years since their previous efforts. All of this culminates in what is my mind the most “complete” thing Trouble ever created. From the mid-paced chug of a killer opener in “At the End of My Daze” to the last notes of “All Is Forgiven”, I can’t see filler or anything resembling a weak link. The riffs here are some of the best ever written, by Trouble or anyone else; every song has a manically awesome main riff that demands a display of headbanging. Riffs are undoubtedly the point of focus here; they make the songs, and they’re a timeless variety of great. Also, the interplay between guitarists Bruce Franklin and Rick Wartell is some of the best lead work you will ever hear in Metal. Trouble basically reinvented themselves with this release, and while I think it was a fantastic rebirth, those who aren’t so keen on the laid back stoner vibe they chose to adopt may not see it as a rejuvenation, but a step back (they did go from doom and gloom to collectively embracing their inner acid dropping free love hippie, after all). But the Metal remained fully intact! And as I’ve said, I think this is Trouble at their best. This is originality and innovation at its best, it is supreme quality. A leader of bands paves the way and then steps aside to create something that will serve as an example of how to improve upon an established formula: that is, by doing it really damn well.

The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”

A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Spanish Love Songs return with a new EP, a reflective collection created mid-process while writing their next full-length. Since forming in 2013, the band has grown from DIY roots into one of modern punk’s most vital voices with albums like Schmaltz, Brave Faces Everyone, and No Joy. Vocalist Dylan Slocum calls these songs “imperfect snapshots,” built in real time with friends and collaborators — including Kevin Devine, Illuminati Hotties, Dan Campbell, and Tigers Jaw. The vinyl release will pair the new EP with their previous No Joy – Sessions and Doom and Gloom Sessions, offering fans a comprehensive physical collection.

Dark techno/Doomed Tribe in a quiet shy sound... Here we propose also a 45 -8 speed listen because this record has something to say at that speed to me... And I'm a fucking deejay ^^

There’s no mystery to this one, it’s another phat Krash Slaughta 45 remix – in this case of a Wu-Tang Clan classic to follow recent cheeky versions of Guru and MF DOOM on 7″. You may remember the original Da Mystery Of Chessboxin’ as an archetypal RZA production characterised by clashing sword samples and a skeletal piano motif with the grit coming from the ‘Clan’s vox and the crunch of the boom-bap drums. KS’s remix is utterly different – as we’ve come to expect – and sees him provide a beat that matches the energy of the original vocals rather than provide a counterpoint to them. Out go (most of) the swords and keys and in come guitars and furious scratching. Side B’s the radio edit, the A’s the ‘Full Phat’ version, cop it in black or yellow wax and remember – in the front, in the back, Killa Beez on attack!

Red and teal "Cornetto" vinyl. Released on 8 September 2023 via Black Bow Records, Strontium Fields marks the Belfast trio's triumphant return after the pandemic. Synth-laden riffs, fuzz-drenched doom and soaring vocals collide to create the band's most expansive and melodic work to date, blending cosmic atmosphere with crushing heaviness.

In CURSED Plattenbau descends into darker waters, where doom, hardcore, and dungeon synth intertwine, cut with the blade of their signature sound. The record explores the creeping return to feudalism - where rival warlords devastate populations and ecosystems for personal gain, leaving powerless serfs to pick through the wreckage. And yet, despite the dread, CURSED refuses despair. It is not a funeral march but an invitation: rage becomes ritual, noise becomes release, dance becomes defiance.

c1 | NUCLEAR GURU (MANS RUIN EP VERSION)
c2 | HAND OF DOOM (BLACK SABBATH COVER)
d1 | BLACK SHAPES OF DOOM (TROUBLE COVER)
d2 | BLUE SNOW (BBC SESSION)

We're delighted to announce the release of all Orange Goblin's Rise Above Records releases on vinyl, many of which will be for the first time. Next in the series is their classic 1998 album, Time Travelling Blues. Goblin singer Ben Ward recalls the album: "Time Travelling Blues came very hot on the heels of Frequencies and is considered by a lot of people as their favourite Orange Goblin album. As a band we had found our niche, the songwriting was developing all the time and we were starting to get recognised by a wider audience. Again, we still play a lot of the material from this album live but a lot of the younger fans havent heard it so much as its been out of print. Were exceptionally proud that this record is being made available for the first time on vinyl from the original masters which really makes the songs stand out! Throw in the bonus tracks and the additional artwork and it makes for an awesome package." Deluxe vinyl edition of ORANGE GOBLIN's second album released for the very first time on vinyl from the original masters. British Doom/Stoner Metal legends. Features never before seen pictures & exclusive liner notes from singer BEN WARD. Hi quality 180gm vinyl. Gatefold sleeve with full colour insert. Includes a bonus 10 EP with 4 exclusive tracks! 10" Tracklist: Side A 1. Nuclear Guru (Mans Ruin EP version) 2. Hand of Doom (Black Sabbath cover) Side B 1. Black Shapes of Doom (Trouble cover) 2. Blue Snow (BBC Session)

There’s no mystery to this one, it’s another phat Krash Slaughta 45 remix – in this case of a Wu-Tang Clan classic to follow recent cheeky versions of Guru and MF DOOM on 7″. You may remember the original Da Mystery Of Chessboxin’ as an archetypal RZA production characterised by clashing sword samples and a skeletal piano motif with the grit coming from the ‘Clan’s vox and the crunch of the boom-bap drums. KS’s remix is utterly different – as we’ve come to expect – and sees him provide a beat that matches the energy of the original vocals rather than provide a counterpoint to them. Out go (most of) the swords and keys and in come guitars and furious scratching. Side B’s the radio edit, the A’s the ‘Full Phat’ version, cop it in black or yellow wax and remember – in the front, in the back, Killa Beez on attack!

The piano recital/album sans retour forms the concluding part of Croene's 'Trilogy of Hopelessness' (Cortizona). The overarching theme is the sense of doom inherent in our responses to climate change. After the doomed indulgence in nostalgia ('cul de sac', 2019) and the doomed yearning for landscapes lost through climate change and human mismanagement ('solastalgia', 2022), he now presents 'sans retour': the doom of the inevitably failed fantasy of escape.

Six piano pieces serve as an in memoriam for six fearless aviation pioneers who ultimately lost their lives in plane crashes. The album opens with a sound recording of the communication between Yuri Gagarin and mission control one minute before the launch of the first manned space flight. At the end of Side A and the beginning of Side B, excerpts from the conversation between Richard Russell and air traffic control can be heard.

Conceived as a single, Beethovenian composition, Croene once again demonstrates the wide range of sound palettes a piano can produce. The common thread is a melody based on the 'Dies Irae', which takes six different forms to embody the in memoriam concept.

20TH HlJACKER – die redigierte „Was wäre wenn“-Schleife der Doom Electronics, die die Kluft zwischen Tod als Opfer vs. Belohnung, Angst vor der Digitalisierung und universeller menschlicher Gemeinsamkeit seziert – die Angst vor lauten Geräuschen und dem Verlieben in die unausgesprochene verlorene 9/11-Generation. 20TH HlJACKER synchronisiert die Paradoxien der Post-Desert-Storm-Ära zwischen dem damals schnellsten unbewaffneten Überwachungsflugzeug der Welt und der Guerilla-Bewaffnung von Verkehrsflugzeugen – und deutet damit die Essenz des anhaltenden Krieges gegen den Terror an: die Verschmelzung von Spezialoperationen und Spionage innerhalb beider gegnerischer Gegner. In einem Klima der Unvermeidlichkeit – vergiss nie, dass Krieg eine Kraft ist, die uns Sinn gibt. – Mit Gastauftritt von Iggor Cavalera (Sepultura, Cavalera) und Mastering von Justin Broadrick (Godflesh, Jesu) – The 2nd Vatican Shadow erscheint als Album für 20 Buck Spin nach „Persian Pillars of the Gasoline Era“ (2020). – Die LP enthält einen farbigen Innencover-Druck und ein riesiges, doppelseitiges Farbposter.


b Speed of Sound (SR-71 Blackbird Pilots Practiced Survival in the Sahara) feat. Iggor Cavalera


[b] Speed of Sound (SR-71 Blackbird Pilots Practiced Survival in the Sahara) [feat. Iggor Cavalera]


[b] a2 | Speed of Sound (SR-71 Blackbird Pilots Practiced Survival in the Sahara) [feat Iggor Cavalera]

Doomcannon Announces Powerful New Album 'Somewhere In Between' Capturing The Quiet Turbulence Of Transformation. New Single 'the Truth' Out Now Is A Soulful Prelude To A Record About Healing, Growth & Self-Belief.

DoomCannon is the alter ego of South London native Dominic Canning, a musical force who cut his teeth as part of genre-pushing groups TriForce and Project Karnak. A proud graduate of Kinetika Bloco and Tomorrow's Warriors, he has shared stages with Celeste (as her musical director), and has graced platforms from the BRIT Awards to 'Later… with Jools Holland'.

His 2022 debut album 'Renaissance'on Brownswood Recordings earned critical acclaim for its expansive sound and political urgency. Now, with 'Somewhere In Between', DoomCannon turns the lens inward—exploring personal growth, emotional honesty, and the hard-earned lessons found in transition.

Their first full length LP, Khana Bierbood are a fresh Thai band with their hearts in a lot of musical places. . Produced by Go Kurosawa (Kikagaku Moyo) in Tsubame studio in Tokyo.Starting track Rustic Song, from the jet sound at beginning, you will realize that you arrived in Thailand. Followed by Track 2 Starshine, you can find surf vibe but it’s different than the West coast surf music. The topnotch is the B1 track Badtrip where you can hear lo-fi garage with heavy doomy fuzz jam part. For fans of Oh Sees, La Luz, or Thai’s morlam music. Khana Bierbood (translated as Strange Brew in Thai), formed in 2012, in Bangsaen Beach in Thailand. After hours of jamming together they started create their unique sound influenced by 60’s surf music, 70’s garage rock with Thai traditional music. Current line up is: GOB Yutthana -Vox,Guitar, JAY Rathchanon-Bass,Backing vocal, OHM Chanutpong – Drums, Peep Sirimit -Percussions, Keys, and MO kittinan- Guitar.

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

Specially imported from the UK Stay Up Forever office: a new Suf Special Acid Techno
release!! Is available in very small amount of copies. No Repress !

Frontman Chris Reifert was already a well-known force on the underground through his time as drummer with Florida's highly respected death metal combo Death. After playing drums on the band's debut album, the much acclaimed 'Scream Bloody Gore', Chris moved back west to the more open climate of San Francisco & formed Autopsy. The band released the demo 'Critical Madness' in 1988 & it wasn't long before Peaceville Records snapped them up in a deal initially spanning 4 albums.

The partnership kicked off in April 1989 with their debut album 'Severed Survival'; a brutal explosion of heavy riffs, tight drumming & a screaming vocal, rounded off with concepts of death, disease & diabolica. This was swiftly followed up with the equally genre-defining 'Mental Funeral' opus in 1991. Released in the autumn of 1995, Autopsy's then fourth & final album before splitting, 'Shitfun', was a glorious scatological gross out & exercise in the limits of extremity & a fitting end to one of the finest bands of a Doomed generation before their return from the grave in 2009 which has continued to go from strength to strength to the current day. This thirtieth anniversary vinyl pressing of 'Shitfun' is presented on bowel- busting limited brown marble- effect vinyl, including the original cover art & printed inner sleeve.

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Superb EP, dark Nederland Acid original style...
A side brings a twisting game with beats and a deep drowning effect... At the frontier of Doom, Industrial Acid and Techno old school...

The flip is a total Curley style tune with a fantomatic dark synth coming and going behind... Secretly.

Enjoy !

Doppel-LP auf Galaxy Opaque Vinyl im vollfarbigen Sleeve mit bedruckter Innenhülle