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GRAMMY nominated band Code Orange have announced details of their new LP UNDERNEATH, which will be released on March 13th via Roadrunner Records. UNDERNEATH is heralded by the LP’s title track, offering a glimpse into the reconfigured and urgent compositions of a band at their most ambitious. “Underneath” is also joined by a Max Moore directed music video.
Code Orange’s Jami Morgan detailed the band’s new LP: “UNDERNEATH is about facing the duality in ourselves as individuals and as a society in an overcrowded, overexposed, all-consuming digital nirvana. Everyone has a voice and no one’s seems to matter… plummet down the rabbit hole of your deepest fears, anxieties and regrets to confront the monster that has been building underneath. down.we.go”

“Underneath” finds Code Orange once again confounding expectations, piling element on element, and towering towards the sky. Rattling drum loops give way to bursts of rage as “Underneath” transforms into something colossal, daring, and resilient, setting the tone for one of the year’s most exhilarating heavy records. Produced by Morgan and Nick Raskulinecz with co-producer Will Yip, UNDERNEATH features additional programming from Chris Vrenna, and was mixed by Yip and Code Orange’s own Eric ‘Shade’ Balderose.

In 2017, Code Orange flipped the heavy music world on its head with their breakthrough album FOREVER, a collection that masterfully mixed hardcore aggression with urgent industrial textures, earning the band a breakthrough GRAMMY nomination and top placement on several “Best of 2017” lists including: Rolling Stone’s “20 Best Metal Albums of 2017,” Revolver’s “20 Best Albums of 2017,” and The Independent’s “Top 20 Rock & Metal Albums of 2017.”

This past summer, Code Orange made headlines in the professional wrestling world with the release of “Let Me In,” their official entrance theme for WWE Superstar ‘The Fiend’ Bray Wyatt. Code Orange previously featured at WWE’s NXT TakeOver: Brooklyn III performing a rendition of wrestler Aleister Black's entrance theme alongside Incendiary’s Brendan Garrone. “Let Me In” followed Code Orange’s 2018 release of THE HURT WILL GO ON, a digital EP featuring “3 Knives” and “The Hunt” Feat. Corey Taylor, as well as “The Hurt Will Go On” (Shade Remix), an official remix of Code Orange’s “Hurt Goes On” helmed by the band’s guitarist and vocalist Shade.

Amongst the usual straight up rock and roll that GOTTHARD are known for, "#13" offers remarkable variety between songs – such as the powerful opener ‘Bad News’, the fast hard’n’heavy ‘Every Time I Die’, the straight to the point lyrical message of ‘Man On A Mission‘, old-school blues-rock with ‘Another Last Time‘, epic Ballads like ‘I Can Say I’m Sorry‘ and unbridled 70’s psychedelia with ‘Rescue Me‘.

Aside from the obvious standout of the record, the cover of ABBA‘s world-famous Hit ‘SOS’, the first single ‘Missteria’ confidently displays the band’s passion for experimentation that is on show throughout "#13". The eccentric track, that was written in collaboration with none other than Francis Rossi himself, combines an unmistakeable rock structure with flourishes of oriental instrumentation and is a perfect basis for the video, that was recorded at the Madi-Zelt in Berlin. Exotic mysticism, the sense of illusion and sensual dancers, that remind the watcher of Salma Hayek‘s legendary appearance in ‘From Dusk Till Dawn’, frame the band’s performance between velvet, deceptive mirrors, fog and fascinating LED-effects. An extremely opulent clip, matching the breathtaking first single.

After 16 #1 albums, over three million records sold worldwide and more than 2000 live shows, "#13" proves that GOTTHARD, even after 25 years, still know how to provide their fans with exactly what they love about the band. "#13" was produced by US producer Paul Lani, while Leo Leoni upheld the role of co-producer for the album. The recordings of "#13" took place at the Yellow House Studio in Lugano, while the mixing was done in Los Angeles and the final touches were added by the renowned Darcy Proper at Valhalla Studios in New York.

1978 and seventeen year old punk rockers Peter Bywaters and Del Strangefish decide to form a punk band and PETER AND THE TEST TUBE BABIES are born. After a couple of rehearsals they make their first recording ‘Elvis Is Dead’ which appears on the Vaultage ‘78 compilation of Brighton new wave bands. Radio 1 DJ John Peel loved the song instantly and offered the band a live session The success was breathtaking and they became one of the hottest unsigned bands in the UK overnight.

The first single ‘Banned From The Pubs’ followed fast, and fans and press freaked out in equal measure. From that moment everything went crazy, sold out concert halls in England and Europe and their big success in the media pushed their debut album ‘Pissed And Proud’ to #1 in the English independent charts. Directly after that ‘The Mating Sounds Of South American Frogs’ was released – a must have for every record collection – and sold more than 100,000 copies, resulting in invitations to perform from far and wide.

THE TEST TUBES BABIES have continued to play shows all over the world and cemented their status as one of the most brilliant and funniest live bands in punk rock culture.A few bass players and drummers have served their time in the band, but the songwriters Peter & Del have always remained the foundation and together they wrote and recorded a long list of classic albums like ‘Soberphobia’, and the brilliant ‘Supermodels’.

In 2018, their 40th anniversary year, PETER AND THE TEST TUBE BABIES signed with Arising Empire; recruiting Nick Abnett and Sam Fuller on bass and drums respectively, they recorded and released their now critically acclaimed album ‘That Shallot’.In 2020 and against all the odds the band have pulled the rabbit out of the hat and come up trumps again with their best record to date ‘Fuctifano’ (say it quickly), featuring the tongue-in-cheek and near-the-knuckle Punk anthems such as ‘Facebook Loser’ and ‘Queen Of Fucking Everything’.

Vinyl with LP-Booklet (Sacramentums legendäres Debüt-Album »Far Away From The Sun« (1996) – endlich wieder auf Vinyl erhältlich!

Rock and Roll Hall of Fame inductee and Grammy®-winning singer and songwriter OZZY OSBOURNE has set Friday, February 21st as the release date for his new ORDINARY MAN album. Marking his first new solo music in almost 10 years, the album has been preceded by the release of two singles, the #1 rock track “Under The Graveyard,” which was followed by “Straight To Hell” featuring Guns N’ Roses guitarist Slash (watch the video here). “It was a lot of fun to do though it’s a lot different from my other albums,” OZZY says of the album. “We recorded it quickly, which I haven’t done since the first Black Sabbath album. This made it a different process, which I actually enjoyed.” Recorded in Los Angeles, the album features producer Andrew Watt on guitars, Duff McKagan (Guns N' Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums. Beyond the core band, ORDINARY MAN, features a who’s-who of OZZY friends and collaborators including Elton John, Post Malone, and Tom Morello.
“It all just came together,” OZZY explains of the guest stars. “Slash is a dear friend of mine, as is Elton. When I was writing ‘Ordinary Man,’ it reminded me of an old Elton song and I said to Sharon, ‘I wonder if he would sing on it?’ We asked and lo and behold, he agreed and sings and play piano on the song.”

*FINAL TRACK LISTING UNCOMFIRMED*

Originally released on CD in 2008 as part of a co CD/DVD release with ‘Live in the LBC’, ‘Diamonds In The Rough’ from Avenged Sevenfold is now released on vinyl for the first time.

A compilation of b-sides recorded during the making of the band’s self-titled 2007 debut, rarities, covers and other non-album tracks, this version of Diamonds In The Rough also features a never before heard track. ‘Set Me Free’ is lifted from the band’s sessions for their UK Number One album ‘Hail To The King’.

The album also includes another 4 tracks (‘4:00 AM’, ‘St James’, ‘Lost It All’ and ‘Paranoid’) that didn’t appear on the original CD release.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

LEECHED return with their second album, To Dull The Blades Of Your Abuse. If you thought their debut was everything abrasive and cathartic about modern extreme metal, then prepare yourself - they’ve taken things up a notch or ten. On their sophomore album, LEECHED prepare to broach uncomfortable topics in a way that is as unflinching as it is emotive. LEECHED have honed their craft, embraced a far denser production ethos and have edged much closer to the sound they envisaged when they first formed as a band. The industrial overtones of their debut remain; cold, desolate, inhospitable. The trio have created a seemingly impenetrable exterior of expansive bleakness. Yet underneath the surface there is a white-hot mass of barely controlled aggression, writhing under the scrutiny of their collective creativity. Throughout the album, the lyrics are shot through with anatomical references, lending themselves to creating an ever-more visceral listening experience. Invoking the bleakness of a dystopian landscape, the album confronts topics we are predisposed to shying away from. Dissecting the intimate layers of abuse, and the emotional hinterland where the lines between cause and effect become blurred. Combining extremely personal experiences with a broader commentary on society,as seen through an overtly stark lens, To Dull The Blades Of Your Abuse is uneasy listening; claustrophobic, furious and all-consuming.

Intronaut—a term that means ‘inner traveler’ has spent the last decade plus writing, recording, and releasing genre-defying, category-destroying long-players. If Intronaut came out of the last decade with anything it’s that they’re known purveyors of the progressive. They’ve made a name for themselves through musical, lyrical, and artistic adventures, journeying into a multitude of styles, parlaying the best of their influences and their spirit animals into a force that’s immediately recognizable as Intronaut. But the most remarkable thing about Intronaut is that they continue to challenge. Not just themselves, but the boundaries of what it means to be heavy and what it means to be progressive. That Intronaut confront the mundane and the accepted so easily is equal parts talent and vision.

Debut release for Metal Blade Records 4th Full length to date Features new vocalist / guitarist Destroyer (UNTERVOID, ex-Kriegsmaschine, ex-HATEOFFICIAL) Confirmed: VOID DANCERS MMXIX European Tour: Nov/ Dec 2019

2x12" Red Coloured Vinyl with Black Splatter, Inhalt des Deluxe Boxset: CD Digipack, 2xLP Gatefold, bedruckte Innentaschen, exklusive Box-Set-Farbe: rot transparent, Wanduhr mit dem Cover Motiv, Kühlschrank Magnet, A1 doppelseitiges 4c Poster, A5 Fotokarte, Sticker, Button, Größe der Box: 33 cm x 33 cm x 16 cm, im Hartkarton Material mit Deckel

Before there was Deathmetal, there was MASTER. This legendary Band is the brainchild of Death Metal God Paul Speckmann, and they are truly a brutal onslaught. Over the last 30 years, their music has influenced anyone and everyone who made a name for themselves in extreme metal. "The Witch-Hunt" features the legendary demo reocrdings and is available now for the time ever on vinyl.

Kill is the tenth studio album by American death metal band Cannibal Corpse, originally released on March 21, 2006. This release marks the return of guitarist Rob Barrett, who had previously played on The Bleeding and Vile. The album was produced at Mana Recording Studios by Hate Eternal guitarist Erik Rutan.

Kill is the tenth studio album by American death metal band Cannibal Corpse, originally released on March 21, 2006. This release marks the return of guitarist Rob Barrett, who had previously played on The Bleeding and Vile. The album was produced at Mana Recording Studios by Hate Eternal guitarist Erik Rutan.

The Wretched Spawn is the ninth studio album by American death metal band Cannibal Corpse. The cover art is by Vincent Locke. This is the last studio album to feature Jack Owen, one of the band's founding members, and up to 2012's Torture, the last with an album cover depicting violence and gore.

The Wretched Spawn is the ninth studio album by American death metal band Cannibal Corpse. The cover art is by Vincent Locke. This is the last studio album to feature Jack Owen, one of the band's founding members, and up to 2012's Torture, the last with an album cover depicting violence and gore.

[k] Fake Healer [feat. Todd La Torre]

When it came to title the record, Strnad looked around at the scene he has helped nourish for two decades and found his inspiration. "We, members of our beloved and hidden world of the heavy metal underground teeming just below the surface, are the verminous. The rats and roaches looming in the cracks and crevices of this fallen world. We are the pariahs that the world of normality finds loathsome and obscene. We are the carriers of a plague of knowledge so vile that it could bring the unsuspecting mankind to its knees. Always the underdogs. Our love for this music and what it means to our lives is foolishly underestimated." This ties into the lyrical themes that permeate the record, though not exclusively, Strnad not struggling to find subject matter that engaged him. "The outside world of religion-warped 'normalcy' is the opposing viewpoint. We are the ultimate antagonist to their archaic ways of thought, the dreamers of the nightmares that shake them to their very core. Although we are but lowly vermin to them, the unseen and underestimated, our numbers are millions strong. We cast aside their ways and prefer to take solace in the hidden realm of the underground where the dark fruits of free thought can be enjoyed. We are our own Gods. The responsibility of our actions is ours alone."

When it came to title the record, Strnad looked around at the scene he has helped nourish for two decades and found his inspiration. "We, members of our beloved and hidden world of the heavy metal underground teeming just below the surface, are the verminous. The rats and roaches looming in the cracks and crevices of this fallen world. We are the pariahs that the world of normality finds loathsome and obscene. We are the carriers of a plague of knowledge so vile that it could bring the unsuspecting mankind to its knees. Always the underdogs. Our love for this music and what it means to our lives is foolishly underestimated." This ties into the lyrical themes that permeate the record, though not exclusively, Strnad not struggling to find subject matter that engaged him. "The outside world of religion-warped 'normalcy' is the opposing viewpoint. We are the ultimate antagonist to their archaic ways of thought, the dreamers of the nightmares that shake them to their very core. Although we are but lowly vermin to them, the unseen and underestimated, our numbers are millions strong. We cast aside their ways and prefer to take solace in the hidden realm of the underground where the dark fruits of free thought can be enjoyed. We are our own Gods. The responsibility of our actions is ours alone."

Wolves Of Karelia – ein neues Kapitel in WOLFHEART’s Saga von Melancholie und Blut beginnt!

Das finnische Winter-Metal Quartett "WOLFHEART" entführt seinen Hörer nach Karelia, eine der malerischsten Regionen ihres Heimatlandes Finnland. Wolves Of Karelia vertont in eindrucksvoller Kompromisslosigkeit die majestätische Rauheit der finnischen Wildnis und spiegelt anmutig die Kollision von Schönheit und Unvorhersehbarkeit wider. Dabei verbindet die Band traditionellen Extreme Metal „Reaper“ mit atmosphärischen und akustischen Nuancen „The Hammer“ & „Horizon On Fire“ und rundet ihr neuestes Werk facettenreich mit dem Instrumental „Eye Of The Storm“ ab.