Pop & Rock Vinyl New Releases - News

 ‘The Music Of Red Dead Redemption II: Original
Score’ is released on CD and vinyl.
 Presented in collaboration with Rockstar Games
and Lakeshore Records.
 Composed by long-time Rockstar collaborator
Woody Jackson and featuring contributions from a
wide range of artists and musicians including Arca,
Colin Stetson, Senyawa, David Ferguson, Jon
Theodore and more.
 The CD is presented as a digipack.
 The double LP set comes pressed on transparent
vinyl discs and features a gatefold package with
printed sleeves.

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

The time has arrived for TESTAMENT to unleash new thunder to the masses and reveal their thirteenth studio album: Titans OF Creation. Just as the elements of this planet thrive within all living creatures, each musician in TESTAMENT represents a necessary component of this latest musical endeavour. Still filled with a massive and unstoppable energy since their last release, TESTAMENT has taken their style to the next level and present an album that is loyal to the roots

of traditional thrash metal while still bringing alluring, brilliant, and progressive ingredients to the table. Bass is showcased, new vocals are introduced, and as expected, the guitarwork of Peterson and Skolnick is greatly complex and mesmerizing.

Eliran Kantor stepped up once again to create a new piece of artwork for the cover of this release. His classic, almost Renaissance style of painting melds beautifully with the ancient, psychological, and enlightened subject matter of the songs. Three monstrous titans stand in the place where the planets are formed. One pours molding liquid which the others hammer into human DNA, twisting and turning into the ring of a newborn planet. Each titan has the flame of a dying star burning in their chest; the origin of the atoms making up the bodies that are bubbling and boiling on the curves of the spiraling helix.

Titans OF Creation has many moods and material contained within; all of which somehow tie into a common philosophy of creation and its necessary counterpart: destruction. “Children Of The Next Level” smashes through the gates as the opening track with a flood of sound that prepares the listener for an abundance of violent thrash. Meanwhile, the lyrics rage about the outrageous philosophies of the Heaven’s Gate cult (founded in 1974).

Songs like “Dream Deceiver” carry more old school sound that will tickle the senses of any common TESTAMENT fan. The lyrics describe being trapped in a dream by an otherworldly female force who is slowly working to degrade the mind. Dreams are part of existence, but when we are asleep we are entirely vulnerable; one of the many mysteries of being human.

“Night of the Witch” features frightening and captivating vocals from Eric Peterson. Carrying a vibe far more akin to Black Metal, Peterson swoops in with a power that melds perfectly with Billy’s ground shaking, guttural growls. Taking some influence from Robert Egger’s 2015 horror masterpiece “The VVitch: A New England Folktale,” the song carries with it a magical quality that directly reflects the mood of the film. At the very end of the track, a theremin howls through the air much like witches rising towards the moon; setting the final tone. “The album has a lot about it that’s fresh to the ear,” explains Peterson.

Written by guitarist Alex Skolnick, “Symptoms” is filled with detailed with intricate guitar work that well represents the complicated and spellbinding journey that comes along with handling depression, mood swings, and a countless list of mental health frustrations. The lyrics in this song discuss a sad truth: that mental illness is more common than we all think, and than many of us are willing to acknowledge. “City Of Angels” comes bearing an entirely new sound for TESTAMENT. The creeping sludgieness and slow, stalking tempo, walk hand in hand with the almost unbelievably gruesome tale of the Nightstalker Richard Ramierz, all combining to form another stand-out track on the record.

In 2020 the days of writing an album all together in one room are far gone, but to be able to take advantage of technology allows for TESTAMENT to go about a very similar writing process to what they always have. Basic songs are molded, structures are added by everyone in the group, instrumentals are highlighted, and finally the lyrics and vocals are created to finalize the sonic story.There was also plenty of anxiety-free and level-headed time for pre-production and the initial recording process with Juan Urteaga of Trident Studios. Andy Sneap was then able to tweak, mix, and master this album to his usual perfection.

TESTAMENT’s process of creation has evolved and progressed yet they’ve remained steadfast over the course of literal decades. While always managing to present the genuine aspects of thrash metal that solidify their existence, they spread into unique horizons through developing crisp and fascinating sounds.

The time has arrived for TESTAMENT to unleash new thunder to the masses and reveal their thirteenth studio album: Titans OF Creation. Just as the elements of this planet thrive within all living creatures, each musician in TESTAMENT represents a necessary component of this latest musical endeavour. Still filled with a massive and unstoppable energy since their last release, TESTAMENT has taken their style to the next level and present an album that is loyal to the roots

of traditional thrash metal while still bringing alluring, brilliant, and progressive ingredients to the table. Bass is showcased, new vocals are introduced, and as expected, the guitarwork of Peterson and Skolnick is greatly complex and mesmerizing.

Eliran Kantor stepped up once again to create a new piece of artwork for the cover of this release. His classic, almost Renaissance style of painting melds beautifully with the ancient, psychological, and enlightened subject matter of the songs. Three monstrous titans stand in the place where the planets are formed. One pours molding liquid which the others hammer into human DNA, twisting and turning into the ring of a newborn planet. Each titan has the flame of a dying star burning in their chest; the origin of the atoms making up the bodies that are bubbling and boiling on the curves of the spiraling helix.

Titans OF Creation has many moods and material contained within; all of which somehow tie into a common philosophy of creation and its necessary counterpart: destruction. “Children Of The Next Level” smashes through the gates as the opening track with a flood of sound that prepares the listener for an abundance of violent thrash. Meanwhile, the lyrics rage about the outrageous philosophies of the Heaven’s Gate cult (founded in 1974).

Songs like “Dream Deceiver” carry more old school sound that will tickle the senses of any common TESTAMENT fan. The lyrics describe being trapped in a dream by an otherworldly female force who is slowly working to degrade the mind. Dreams are part of existence, but when we are asleep we are entirely vulnerable; one of the many mysteries of being human.

“Night of the Witch” features frightening and captivating vocals from Eric Peterson. Carrying a vibe far more akin to Black Metal, Peterson swoops in with a power that melds perfectly with Billy’s ground shaking, guttural growls. Taking some influence from Robert Egger’s 2015 horror masterpiece “The VVitch: A New England Folktale,” the song carries with it a magical quality that directly reflects the mood of the film. At the very end of the track, a theremin howls through the air much like witches rising towards the moon; setting the final tone. “The album has a lot about it that’s fresh to the ear,” explains Peterson.

Written by guitarist Alex Skolnick, “Symptoms” is filled with detailed with intricate guitar work that well represents the complicated and spellbinding journey that comes along with handling depression, mood swings, and a countless list of mental health frustrations. The lyrics in this song discuss a sad truth: that mental illness is more common than we all think, and than many of us are willing to acknowledge. “City Of Angels” comes bearing an entirely new sound for TESTAMENT. The creeping sludgieness and slow, stalking tempo, walk hand in hand with the almost unbelievably gruesome tale of the Nightstalker Richard Ramierz, all combining to form another stand-out track on the record.

In 2020 the days of writing an album all together in one room are far gone, but to be able to take advantage of technology allows for TESTAMENT to go about a very similar writing process to what they always have. Basic songs are molded, structures are added by everyone in the group, instrumentals are highlighted, and finally the lyrics and vocals are created to finalize the sonic story.There was also plenty of anxiety-free and level-headed time for pre-production and the initial recording process with Juan Urteaga of Trident Studios. Andy Sneap was then able to tweak, mix, and master this album to his usual perfection.

TESTAMENT’s process of creation has evolved and progressed yet they’ve remained steadfast over the course of literal decades. While always managing to present the genuine aspects of thrash metal that solidify their existence, they spread into unique horizons through developing crisp and fascinating sounds.

A sparkling melodic metal album with a typical Scandinavian approach to catchy hooks, powerful guitar riffs, controlled but
striking heavyness & power, remarkable melodies and a versatile instrumentation.

P22 are a Los Angeles band formed in 2015 by
Sofia Arreguin, Nicole-Antonia Spagnola, Justin
Tenney and Taylor Thompson.
 P22 are a prudent exercise in the collective rearing
of offbeat protest tunes in punk’s tomb.
 P22 have released three tapes - two self-released -
and one released as part of Mike Kriebel’s Beat
Sessions.
 ‘Human Snake’ is a compilation of sanguine
materials written between 2017 and 2019. ‘Human
Snake’ was recorded and mastered during the
summer of 2019 by Mike Kriebel, after the group’s
brief hiatus.
 The intellect and political prowess of Crass, played
by West Coast punkers with early SST vibes.
Tracklisting

ABOMINATION took the US-american metal scene by storm, playing with death-thrashers and friends Asphyx, Master and other bands. Combining lightening fast riffs, Paul Speckmann's raspy trademark growl and speedy bass playing, pummeling drums and production, the band created a whole new genre of music in the early 90s - death´n`thrash metal. After two killer-albums on Nuclear Blast Records, ABOMINATION released `The Final War´ in 1999 on compact disc. This legendary album is available now - after more than 20 years - on vinyl for the first time ever.

Since their inception in 1990, german band DISBELIEF drew an immediate roaring response from the press with a series of remarquable demo tapes leading to getting signed and touring extensively with bands like BOLT THROWER, SIX FEET UNDER, DEATH ANGEL among others and playing major festivals. Being on hiatus since 2010 after some line up changes, DISBELIEF came back on the battlefield more armed than ever with a much acclaimed album : "The Symbol Of Death" ( via Listenable records ) . It showcased a band with an implacable conviction and determination . During their 30 year existence, DISBELIEF have been exploring the depths of sonic depravity, and while injecting their own equitable sense of groove and harmony, they definitely have been embodying what gruesome old school heavy death metal is about . In September 2019, DISBELIEF entered Rambado studios in Essen ( Germany ) with producer Cornelius Rambadt and recorded their 11th album . It was then mastered by Dennis Köhne who also handled their previous album outrageously authoritative powerful sound . Entitled "The Ground Collapses", it Truly is a high standard relentless Monster of a record by all accounts. DISBELIEF is a genuine individual grinding force and "The Ground Collapses" is the ultimate soundtrack to the apocalypse ! For fans of : BOLT THROWER, OBITUARY, GOJIRA DISCOGRAPHY : Disbelief ‎( 1997 ) Infected ( 1998 ) Worst Enemy ( 2001 ) Shine ( 2002 ) Spreading The Rage ( 2003 ) 66Sick ( 2005 ) Navigator ( 2007 ) Protected Hell ( 2009 ) Heal! ( 2010 ) The symbol of death ( 2017 )

Downpresser come from Los Angeles, and they play a brutal, warlike form of metallic hardcore. It’s total mosh-mayhem music, full of downtuned riffage and double-bass thunder and slowed-down mosh parts so intense that you can almost feel an elbow smashing into your ear even if you’re listening to it alone at home. Downpresser have been around since 2006, but thus far, they’ve only released one album, 2013’s monstrous Don’t Need A Reason. Now they’re coming out with a new full-length called The Long Goodbye.

Bruce LePage used to be the frontman for the Connecticut band 100 Demons, whose 2000 album In The Eyes Of The Lord was a landmark of metallic hardcore. 100 Demons are apparently still going, but LePage isn’t in the band anymore. Instead, these days, LePage is leading a newer band called Eyes Of The Lord, which also features members of likeminded bands like Twitching Tongues, God’s Hate, and the Midnight Sons. Eyes Of The Lord released their debut EP Call It War a couple of years ago, and now, they follow it up with Misery Feels Like Home, their first full-length. It fucking rips.

Eyes Of The Lord make titanic, juddering hardcore — huge, shouty, riff-heavy, groove-driven stuff. Sometimes, they lurch up a couple of gears, play really fast, and transform into thrash. Sometimes, they lapse into ominous instrumentals, which just means they snap your neck that much harder when the next riff locks in. The album’s got some great production from guitarist Taylor Young, and it truly sounds titanic.

In the year 2020, our surroundings frequently appear to be only a few steps short of resembling the kind of technologically-driven dystopia that previously was confined to the realm of fiction, there still exists a peculiar shortage of music spiritually attuned to these treacherous times. Fortunately, a chance meeting between two disparate yet fundamentally akin visions is here to redress the balance.

Petbrick - the duo comprising Wayne Adams (Big Lad/Death Pedals/Johnny Broke) and Iggor Cavalera (Sepultura/Soulwax/Mixhell) - have arrived at an audial destination whereby electronic experimentation, hardcore attitude, dystopian dread and in-the-red dementia collide and collude to form a uniquely invigorating assault, custom fit for an accelerated age. This debut explores fresh lunacy anew whereby both members’ past experience - Wayne in a variety of musical guises ranging from punk to breakcore and gabba, and Iggor in a planet-straddling metal colossus whose questing spirit played a crucial role in the music’s evolution - are both profitably employed and left obsolete by a resolutely genre-free onslaught whose spirit remains firmly in the here and now.

Raw Hex is a four piece band from Charlotte, North Carolina who formed in 2012. Raw Hex play a killer style of music that incorporates elements of hardcore, punk, black metal, and d-beat within their sound. Musically, Raw Hex can be loosely compared to bands such as Trap Them, Young And In The Way, Nails, Torch Runner, Baptists, and other like-minded bands. On Always High, Always Low, Raw Hex offer up ten tracks of ugly and brutal as fuck sounding hardcore, punk, black metal, and d-beat. Overall, Always High, Always Low makes for an awesome listen and definitely should not be missed.

A lot of this year’s best hardcore albums aren’t albums at all; they’re EPs. The 2019 joints from bands like Inclination, One Step Closer, Tørsö, Portrayal Of Guilt, and Witchtrial can absolutely hang with anything in the full-length department. And today, we get another addition to that list.

The Southern California band Vamachara make an epic, thundering form of hardcore, one that draws on the grandeur of metal but keeps things slow and crushing. Vamachara have been around for the better part of a decade, and they released their full-length debut Despondent last year. Today, they follow it up with the brutal, flattening new EP Hereafter, which sounds like the skies opening up and winged demons streaming out of it. It fucking rules.

Witchery were born in 1997 after Jensen, Rimfält and Axe had left Satanic Slaughter. One year later they released „Restless And Dead“, the title hinting at metal icons Accept and their classic „Restless And Wild“ album. The second release was the EP „Witchburner“(1999), once more they paid homage to their idols. They covered songs by WASP, Judas Priest, Accept, Black Sabbath and added three tracks of their own. The same year they launched „Dead, Hot And Ready“, naturally tens of thousands of fans banged their heads at Wacken Open Air ´99 to their Heavy-meets-Thrash-mix. One year later the Metal-allstars toured with Kreator and Moonspell.

„Symphony For The Devil“(2001) was their next opus, once again they combined precision, force and melody. As far as the style of music is concerned, Witchery go for the classic bands, the choice of their guests speaks volumes. The fivesome mixes elements from Death-, Black- and Heavy Metal. „We want to get people to drink beer and party without sounding like AC/DC“, Jensen points out. In their lyrics subsequently creatures show up, which are known from 80s horror movies. Death and the devil are as important as werewolves, witchhunters and hellhounds. Jensen sums it up: „We play party music without singing about whiskey and women.“ Now almost twenty years after their first release it´s time to re-introduce the classic Heavy-Metal pieces “Restless & Dead”, “Witchburner”, “Dead, Hot And Ready” and Symphony For The Devil” with remastered sound as well as reworked artworks and rare photos.

Witchery were born in 1997 after Jensen, Rimfält and Axe had left Satanic Slaughter. One year later they released „Restless And Dead“, the title hinting at metal icons Accept and their classic „Restless And Wild“ album. The second release was the EP „Witchburner“(1999), once more they paid homage to their idols. They covered songs by WASP, Judas Priest, Accept, Black Sabbath and added three tracks of their own. The same year they launched „Dead, Hot And Ready“, naturally tens of thousands of fans banged their heads at Wacken Open Air ´99 to their Heavy-meets-Thrash-mix. One year later the Metal-allstars toured with Kreator and Moonspell.

„Symphony For The Devil“(2001) was their next opus, once again they combined precision, force and melody. As far as the style of music is concerned, Witchery go for the classic bands, the choice of their guests speaks volumes. The fivesome mixes elements from Death-, Black- and Heavy Metal. „We want to get people to drink beer and party without sounding like AC/DC“, Jensen points out. In their lyrics subsequently creatures show up, which are known from 80s horror movies. Death and the devil are as important as werewolves, witchhunters and hellhounds. Jensen sums it up: „We play party music without singing about whiskey and women.“ Now almost twenty years after their first release it´s time to re-introduce the classic Heavy-Metal pieces “Restless & Dead”, “Witchburner”, “Dead, Hot And Ready” and Symphony For The Devil” with remastered sound as well as reworked artworks and rare photos.

2x12" Black Vinyl. Das langerwartete neue Album "F8" der Band aus Las Vegas erscheint- und wird abermals keine Wünsche offen lassen...



b Inside Out (3:46) [EXPLICIT]
[c] Full Circle (3:22) [EXPLICIT]
[d] Living The Dream (3:34) [EXPLICIT]
[e] A Little Bit Off (3:10) [EXPLICIT]
[f] Bottom Of The Top (3:30) [EXPLICIT]

[h] Mother May I (Tic Toc) (3:54) [EXPLICIT]
[i] Darkness Settles In (4:41) [EXPLICIT]
[j] This Is War (3:11) [EXPLICIT]
[k] Leave It All Behind (3:30) [EXPLICIT]
[l] Scar Tissue (2:53) [EXPLICIT]

[n] Making Monsters (BONUS) (3:03) [EXPLICIT]
[o] Death Punch Therapy (BONUS) (3:08) [EXPLICIT]
[p] Inside Out (Radio Edit) (BONUS) (4:13) [EXPLICIT]

2x12" Black Vinyl. Das langerwartete neue Album "F8" der Band aus Las Vegas erscheint- und wird abermals keine Wünsche offen lassen...



b Inside Out (3:46) EXPLICIT
[c] Full Circle (3:22) [EXPLICIT]
[d] Living The Dream (3:34) [EXPLICIT]
[e] A Little Bit Off (3:10) [EXPLICIT]
[f] Bottom Of The Top (3:30) [EXPLICIT]

[h] Mother May I (Tic Toc) (3:54) [EXPLICIT]
[i] Darkness Settles In (4:41) [EXPLICIT]
[j] This Is War (3:11) [EXPLICIT]
[k] Leave It All Behind (3:30) [EXPLICIT]
[l] Scar Tissue (2:53) [EXPLICIT]

[n] Making Monsters (BONUS) (3:03) [EXPLICIT]
[o] Death Punch Therapy (BONUS) (3:08) [EXPLICIT]
[p] Inside Out (Radio Edit) (BONUS) (4:13) [EXPLICIT]


[b] Inside Out (3:46) [EXPLICIT]
[c] Full Circle (3:22) [EXPLICIT]
[d] Living The Dream (3:34) [EXPLICIT]
[e] A Little Bit Off (3:10) [EXPLICIT]
[f] Bottom Of The Top (3:30) [EXPLICIT]

[h] Mother May I (Tic Toc) (3:54) [EXPLICIT]
[i] Darkness Settles In (4:41) [EXPLICIT]
[j] This Is War (3:11) [EXPLICIT]
[k] Leave It All Behind (3:30) [EXPLICIT]
[l] Scar Tissue (2:53) [EXPLICIT]

[n] Making Monsters (BONUS) (3:03) [EXPLICIT]
[o] Death Punch Therapy (BONUS) (3:08) [EXPLICIT]
[p] Inside Out (Radio Edit) (BONUS) (4:13) [EXPLICIT]

Gatefold black 2LP&LP-Booklet.

The 5th studio album of one of France’s most creative death/black metal bands of our time, SVART CROWN, features their most diverse compositions to date! “Wolves Among The Ashes” consists of 8 tracks of technically proficient extreme metal paired with irresistible melodic strains and a haunting atmosphere!

After an almost classic intro and a very destinctive late 90’s blackened death metal outburst in the vein of Angelcorpse (‘Thermageddon’), SVART CROWN’s reprogrammed DNA starts to unveil its devilish nature, leaving no stones unturned, from weird industrial samples married with Gregorian chants performed by drummer Ranko (‘Blessed Be The Fools’) to dual clean vocals and trip-hop-like beats (‘Down To Nowhere’) or freezing black-metal worthy of Gorgoroth (‘At The Altar Of Beauty’).

Instead of coming across as an artistic mess, this fifth full-lenght actually remains incredibly cohesive and shows a band eager to make the next step in it's carreer.

black LP+CD, 180 gram

Signed to Atlantic Records in the hubbub after Nirvana's Nevermind exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like 'Honeybucket' received MTV airplay.
- First time on vinyl since 1993
- Mastered directly from original analog tapes
- Six tracks produced by Kurt Cobain
- Cover art by legendary artist Frank Kozik
- Includes the vinyl-only bonus track 'Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)' originally by the MC5

Amberian Dawn are reaching an ultimate career high with their eighth studio album, Looking for You. Refined and immaculate songwriting full of catchy melodies and epic keyboard passages sends shivers down your spine on their first single, “United”. Singer Capri Virkkunen enchants in a duet with Fabio Lione (ex-Rhapsody of Fire) in the breathtaking symphonic metal summit “Symphony No.1 Part 3 – Awakening”! The diverse and emotional lyrics provide a suitable background for soaring guitars and elegant classical interludes. Looking for You is a highly addictive cocktail topped off by a cover version of ABBA’s “Lay All Your Love on Me”!

re-issue of debut album on Transparent vinyl

Limited Vinyl re-issue of sophomore album AND SO IT CAME TO PASS.

9th studio album from legendary German extreme-metal band who was founded in 1996. Follow up to 2016 'Wanderer’ which debuted #21 on Billboard Heatseekers & charted in Germany #3, Austria , & Switzerland. 'Wanderer’ also won the 2017 Metal Hammer Award for Best Album

Lucifer III” is the third studio album by LUCIFER who celebrated massive international success with 2018’s much acclaimed “Lucifer II”, which saw the 2014 formed band’s new constellation reach a new level of songcraft and sheer impact. Uniting the songwriting talents of Johanna Sadonis and Nicke Andersson (The Hellacopters, Entombed, Imperial State Electric), “Lucifer III” now further perfects the group’s stunning mix of 70’s hard rock, tinges of doom, doses of classic heavy metal and addictive choruses resulting in powerful ballads (‘Leather Demon’, ‘Cemetery Eyes’), straight up rockers (‘Flanked By Snakes’, ‘Ghosts’), catchy anthems (‘Lucifer’, ‘Midnight Phantom’, ‘Pacific Blues’) and Sabbathian heaviness (‘Coffin Fever’). LUCIFER have toured North America several times, supported The Hellacopters in Europe and performed at fests like Psycho Las Vegas, Sweden Rock, Metaldays, Kiss Kruise, Desertfest, Hellfest, Muskelrock, and more, in 2020 LUCIFER are ready to surpass expectations once again and will tour Europe and UK in May 2020 as well as Wacken Open Air! Available as Limited Edition CD Digipak, 180 gram black vinyl with a luxurious flipback sleeve and including CD as extra as well as digital album.

Amalie Bruun has always paved her own path, challenging underground preconceptions of heavy metal ever since the release of her debut Myrkur EP in 2014. Her first two full-length studio albums, 2015’s M and 2017’s Mareridt, recast black metal in the most personal yet expansive of terms, their blending of Amalie’s Danish folk roots with tempestuous internal struggles breathing new life into a subgenre whose followers can be rigidly possessive. With the release of her new album, Folkesange, Amalie Bruun has set out to journey into the very heart of the Scandinavian culture that marked her childhood. Folkesange relinquishes black metal for a refined yet far-reaching evocation of traditional folk, combining songs ancient and new to sublimely resonant effect. After the nightmare-induced visions that wrought themselves throughout Mareridt, Folkesange offers an emotional sanctuary, a means to reconnect to something permanent and nature-aligned. It’s an awareness that’s become deeply bound to the album’s organic, regenerative spirit, from the opening track Ella’s heartbeat, frame-drum percussion and crystalline vocals that become the grounding for a rapt, richly textured awakening, to the gentle carousel of the closing Vinter, with its nostalgia-steeped connotations of seasonal, snowfall-bewitched awe.

THANATOS are celebrating 35 years of fully dedicated fierce Death Fuckin Thrash Metal. Admittedly, they absolutely still sound incredibly and accurately relevant to nowadays metal scene thanks to their utterly implacable material. Saying their 7th album "Violent Death Rituals" sounds removed from their original early SLAYER, POSSESSED, KREATOR influences would be a mistake and we are very thankful to the band for not straying away from the initial path indeed, that said, they have undoubtedly honed their vehemently powerful sound over the years to become a purely individual relentless machine. By all accounts, Good Metal is timeless !. Their uncompromising new album "Violent Death Rituals" is just pure catchy Madness, THANATOS thoughtfully pace their songs for maximum ferocious headbanging folly. Their furiously sharp arrangements contain so many well balanced acute melodies and enough murderous riffing to crush any fan in genuine extreme metal music history. Fuckin Hell awaits in 2020. Band leader Stephan Gebédi comments : "When THANATOS emerged in the metal scene of the early 80's, there was a huge "Us against the World" feeling. We were at war with the establishment, despised all forms of organised religion and guess what ? We still feel the same after all those years !The current metal scene has lost a lot of its rough edges. A lot of bands have adopted a polished, plastic sound and a somewhat happy, politically correct attitude. But there are still bands that choose to go against the grain, stir up some controversy and never let go of the ‘us against the world/fuck the mainstream’ attitude." THANATOS‘ "Violent Death Rituals" was produced by the band themselves and mixed by Dan Swanö. This album marks the debut of drummer Martin Ooms and bass player Mous Mirer ( both ex-MELECHESH and ex-LIAR OF GOLGOTHA ) who have joined guitarist Paul Baayens and founding member Stephan Gebédi ( vocals/guitars ) in their never-ending quest for death and destruction. -

Swedish heavy metal masters WOLF strike back with their 8th studio album “Feeding The Machine” that offers intense and addictive headbanger anthems covering the straight-up speedy attack (‘Shoot To Kill’), the infectious hooks (‘Midnight Hour’), the darkly melodic (‘The Cold Emptiness’), and gallopping riff-fests (‘Feeding The Machine’)! Featuring a gloriously morbid artwork by the legendary Thomas Holm (Mercyful Fate, King Diamond), WOLF know how to deliver the goods after letting fans wait for a new opus since “Devil Seed” in 2014. Recorded at SolnaSound (guitarist Simon’s own studio), mixed and mastered by Fredrik Nordström at Studio Fredman (At The Gates, In Flames, Arch Enemy), “Feeding The Machine” is a bit of a fresh start for WOLF as vocalist Niklas Stålvind and guitarist Simon Johansson now have been joined by Pontus Egberg (King Diamond) on bass and drummer Johan Koleberg (ex-Therion, ex-Lion’s Share) to bring an extra dose of reinvigorated energy and focus to the table. Confirmed to tour Europe and the UK with Grand Magus in March 2020, heavy metal’s finest WOLF-pack is all geared up to go for your throat!