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Welcome to the Panopticon of darkness! With Unbroken, the German pioneers of European Gothic Metal, CREMATORY, dare to perform a tightrope act in the somber void. 15 energetic tracks within brutal riffs, deep growls and tight drum grooves prove the band’s diversity — even after almost 30 years in business. The concise influences of Neue Deutsche Härte turn Unbroken into a bravura-piece in an industrial guise. The opening track of the album takes the listener into a darkly-nuanced soundscape, appeals to the strength and self-determination of the band and their fans, and allures with a certain kind of hymn character. The most contemplative CREMATORY album to date closes with the final tracks "As Darkness Calls", a powerful first class offer, and the emotional ballad "Like The Tides”. The latter presents the fragile side of the band and symbolizes an ode of transience, love and pain. CREMATORY remains Unbroken!

Unofficial RSD limited coloured version of Dissection's all-time classic, “Somberlain", on
deluxe double blue etched vinyl!!
• Dissection's all-time classic album!
• This is the only album that features the band's original line-up
• DELUXE DOUBLE BLUE VINYL EDITION!!!
• One side is Etched
• Limited to 666 copies worldwide!

'Eagles Of Death Metal' Presents "Boots Electric" - Performing The Best Songs We Never Wrote - COLLECTORS LTD - COLOURED GATEFOLD VINYL - REGULAR DESIGN OF VINYL AS RED- AND BLUE COLOURED-SWIRL - BE FAST

SD limited coloured version of ENTOMBED'S live “Clandestine” album, on double gold vinyl
with poster, limited to 500 copies worldwide!!!
• A unique Entombed experience with original members Nicke Andersson, Uffe Cederlund and
Alex Hellid performing their second album “Clandestine” for the album’s 25th Anniversary!!
• Clandestine - Decibel Magazine (US) Hall Of Fame album 2016
• First ever full performance of Entombed Clandestine Live
• High Priority Release

MY DYING BRIDE‘s three decades of misery almost came to an end several years ago. Following 2015’s universally lauded »Feel the Misery« album, vocalist Aaron Stainthorpe’s daughter, just five years old at the time, was diagnosed with cancer. Shocked and heartbroken, Stainthorpe put all band activities on hold while he, his immediate family, and MY DYING BRIDE put their collective energies into eradicating what Stainthorpe called, “the cruellest of God's bitter and loveless creations.” The high hurdles, however, didn’t stop with cancer. In 2018, returning original member and guitarist Calvin Robertshaw texted his departure, effective immediately. No reason was given or explanation provided to anyone. Then, just as MY DYING BRIDE had regrouped after positive news that his daughter was effectively cancer free, returning drummer Shaun Taylor-Steels departed right before the band were slated to enter Mark Mynett’s studio, Mynetaur Productions. Down two members but feeling right as rain, MY DYING BRIDE moved on, mastered the doldrums, recording magnificent new album, »The Ghost of Orion«, to the joyful tears of fans across the globe, in the process.

Replete with an excellent Eliran Kantor (FLESHGOD APOCALYPSE, EX DEO) cover art—commissioned by Stainthorpe—and sporting 11 tracks, »The Ghost of Orion« posits MY DYING BRIDE back on the proverbial doom-death throne. In fact, they’ve never sounded better. From the doleful lay in 'Your Broken Shore' and the deathly traditional 'A Secret Kiss' to the grim 10-minute epic 'The Old Earth,' »The Ghost of Orion« is the product of a vibrantly creative band unwilling to rest on their laurels or past glories.

Schwedischer Heavy Metal getreu dem Reinheitsgebot!

"Rabauken-Sounds für böse Banger: Portrait gehören spätestens JETZT zu den besten Metal-Bands der Welt!" Rock Hard (Boris Kaiser)

Die Band bemerkt dazu: "'Crossroads' ist ein siebenfacher Fluch und Segen auf die sterbende Musikszene, ein vom Unantastbaren und doch Unleugbaren getränktes Album. Diese erste Single 'In Time' war auch der erste Song, den wir für 'Crossroads' geschrieben haben, und zählt eher zu den straighten Stücken der Scheibe. Bang or be banged!"

Das erbarmungslose schwedische Metal-Monster PORTRAIT wurde 2006 in der Absicht geboren, die ganze Welt auszulöschen.
"Dies ist in vielerlei Hinsicht unser bislang wichtigstes Album, und mit dem Ergebnis könnten wir nicht zufriedener sein. Für mich persönlich sind PORTRAIT endlich zu der Band geworden, der ich schon immer angehören wollte, und wir sind hungriger denn je. Die neue Scheibe wird für sich selbst sprechen, und das Jahr 2014 wird eines der Wahrheit und Eroberungen werden - aufgepasst!" - Christian Lindell, Gitarre

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*

LP IN STOUGHTON JACKET, PRINTED INNERS, OBI STRIP WITH FOUR OF SAMANTHA KEELY SMITH'S INCREDIBLE CONSCIOUSNESS MEMORY LANDSCAPES GRACING THE ALBUM SLEEVE.

The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley & Greg Anderson.

The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividity of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of Sunn O)))’s titanic works. 

For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel, and feel the music. To be immersed will reveal great detail and colour, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.

Sunn O))) would invite their audience to consider these points of perception when experiencing and listening to Pyroclasts. Sunn O))) would also invite and encourage the audience to use Pyroclasts as a lens to review and reexperience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.

Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two inch tape July 2018, and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019.

Stephen & Greg would like to dedicate this album to the memories of Ron Guardipee, Kerstin Daley & Scott Walker.

Seattle rock band Candlebox found immediate success with the release of their self-titled debut album in July 1993. Certified platinum by the RIAA four times, it sold more than 4 million copies and peaked at No. 7 on Billboard’s album charts. The album features the singles “Change”, “You”, “Far Behind”, and “Cover Me”.

The tremendous radio, concert, and television success gained them a main-stage slot at Woodstock ‘94 and put Candlebox at the forefront of the 90's post-grunge scene.

The vinyl edition of Candlebox includes the 11 original album tracks (incl. “Blossom”) on 2 LP’s and is available as a limited edition of
2000 individually numbered copies on silver coloured vinyl.

Room Noises is the debut album by the American indie rock/pop band 'Eisley'. The album spawned three singles: “Memories”, “Telescope Eyes”, and “I Wasn’t Prepared”. It was placed at number 9 among Paste magazine’s top albums of 2005. The dreamy sound on this album is pretty unique and the album contains a healthy dose of fragile songs. Fans of dreampop and indie music will be enamoured.

Room Noises is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The package includes an insert.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD & 4-PAGE BOOKLET
• CRITICALLY ACCLAIMED GOTHIC METAL ALBUM, INDUCTED INTO THE DECIBEL MAGAZINE HALL OF FAME IN 2018
• LIMITED EDITION OF 2500 INDIVIDUALLY NUMBERED COPIES ON YELLOW - AND BLACK-MARBLED COLOURED VINYL


Paradise Lost’s fourth studio album Icon marked a departure from the death-doom sound of their early work. This career-defining record combines all of their strengths, both in skill and ability to captivate.

The production sounds fresh and very stable all over the album, with the instrumentation and vocals changing from track to track. Icon has been highly influential to numerous bands, Opeth and Katatonia to name a few. On this masterpiece they showed that they created Gothic metal in it's most brilliant moment.

The gothic metal band Paradise Lost are considered to be the pioneers of the death-doom genre, and as a big influencer for the gothic metal. They’re active for over thirty years, in a stable line-up where only the drummers changed during the years.

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.

Epic BM savagery from Brendan Radigan ov Pagan Altar in Torture Chain mode, wielding cutthroat guitars, lozenge-ready vocals and slaved drum machines with fast and furious form “morbid and baroque keyboard organ intros accompany a caustic and harsh hammering black death metal, complete with ripping guitar solos courtesy of arthur rizk with winding interactive
single note leads set atop the crumbling temple of riffs. highlights even hit the stressful agony of mayhem’s chimera at its nastiest peaks or the angular dissonance of corpse vomit’s debut. this could easily have sat alongside some of the forgotten
gems of the wild rags catalog - a moment when underground was a monstrous and uncomfortable mix of elements - and a journey that if one overcame the obstacles they were rewarded with knowledge.
new album from lone torturer - the influence of greek black metal is mutated alongside old american death metal.

Dutch chart-topping rock outfit Delain have spent the last several years increasingly taking the world by storm, one album at a time. Now, with five successful releases already under their belts, the heavy crossover icons reach new heights with their latest multi-faceted dystopian masterpiece, Apocalypse & Chill. On Apocalypse & Chill, Delain leave all stereotypes and preconceived notions in the dust – exploring themes of impending doom and human indifference – making this their boldest, most daring and undeniable offering yet.

Apocalypse & Chill is a refresher – carefully yet powerfully weaving violent riffs, synth heavy soundscapes and fully orchestrated compositions with vocalist Charlotte Wessels’ unmatched vocal potency, while not straying too far from the band's established sound. “We think Apocalypse & Chill will surprise our listeners,” the band states. “It is heavy with new influences and we’re really curious to find out how our audience will respond to that.”

God Dethroned never say die! The immutable power of the Netherlands greatest blackened death metal band rings true on new album, Illuminati. Since forming in the Netherlands in 1991, God Dethroned have amassed a sizable following through the release of 10 full-length albums.

From debut The Christhunt (1992) and Bloody Blasphemy (1999) to The Toxic Touch (2006) and the comeback The World Ablaze (2017), Henri Sattler’s God Dethroned have indeed purveyed some of the finest evil death since Possessed hurled the ground-breaking Seven Churches upon metaldom. Luckily, for headbangers and horn-throwers the world over, Illuminati continues God Dethroned’s immutable reign.

Before there was a Swedish Death Metal scene - let alone a signature sound - N2K2 was helping to create both. "Nirvana 2002 Recordings 89-91" is a collection of rare demos and rehearsals from the pioneering band. Repressed for the first time in 10 years, "Nirvana 2002 Recordings 89-91" is not just a nostalgic time capsule from the past, but a glimpse at what the future of Death Metal would hold.
THIS IS METAL FROM SWEDEN Feat. Orvar Såfström, Erik Ovick and Lars Henriksson For Fans Of: Dismember, Death,

Dying Fetus is an American death metal band originally from Greater Upper Marlboro, Maryland. Formed in 1991, the group is known for their consistently hook-laden song structures, characterized by blast beats, complex riffing, slam riffs and heavy breakdowns. Additionally, their reality-based lyrics characterized by political/modern themes are notable in death metal. Various line-up changes throughout the years have left John Gallagher as the sole remaining original member, as well as the band's driving force.

According to Gallagher, the band name was chosen while the members were of adolescent ages and was intended to be offensive. History Repeats was originally released in 2011.

As Blood Rains from the Sky ... We Walk the Path of Endless Fire is the fifth studio album by the German death metal band Fleshcrawl.
This album is highly typical of Fleshcrawl's mid-to-late career material, and resembles contemporary work by such melodic/Swedish death metal bands as Dismember, Entombed, and Arch Enemy.

It utilizes highly melodic and aerobically rhythmic mid-to-high guitar range with rapid tempos and short, highly agile guitar solos, and is consequently very characteristic of the Swedish-style Death metal sound that has dominated their work since the late 1990's.

A slightly brutal sound present in the drumwork, which consists of very high-tempo double-bass drum rolls and the occasional blast beats, serves to accent the melodic death metal rhythmics of the album without creating a sense of disorganization and chaos, while the guttural, abrasive vocals, somewhat reminiscent of such bands as Six Feet Under and Deicide enhance the intensity of the album.

oulskinner is the sixth studio album by the German death metal band Fleshcrawl. The last to feature founding guitarist Stefan Hanus.

Could Copenhagen become the new death doom capital? If so, it`s all because of Konvent! Founded in 2015, the fourpiece stoically trudges through the blackest mires – following in the footsteps of Candlemass, Paradise Lost, Cult of Luna and Black Breath, who all unleashed the bleakest horror on mankind in the early 90's.

Rikke Emilie List`s guttural vocals and tenacious riffing combined with menacingly heavy production make the debut by these four Danish women a massive extreme metal highlight of early 2020 – and it wouldn`t come as a surprise if Puritan Masochism conjures up a deserved revival for the whole death doom genre.

The notorious and prolific Cleveland cult, Midnight, have been slaying the metal/punk underground with their own, highly addictive brand of lust, filth, and sleaze dating back to the band's inception in 2002.
Vocalist/guitarist/bassist/drummer Athenar has always known exactly what he wanted Midnight to be, and over the course of countless demos, EP's, compilations, splits and three full-lengths,
he has stayed true to his roots.

Building up a strong reputation and a rabid following in the underground, the band's trademark blend of speed metal, black metal and punk rock, Midnight's most recent opus, Rebirth By Blasphemy sounds both fuller and more raucous than ever before.

Vomitory is a Swedish death metal band formed in 1989 by guitarist Urban Gustafsson and bassist Ronnie Olson. The band released a total of eight albums, all released on Metal Blade Records.
After breaking up in 2013 and reuniting for a one-off show in 2017, Vomitory officially reformed in 2018. Opus Mortis Vlll was originally releases in 2011.

Speedcore oldies ... so good is!

Japanses artist sieste in a versus with some dirty grind bands.

3x12"

The SENTINEL LP represents the manifesto of one part of the spectrum of MethLab's club-oriented sound. Featuring a cross section of our forward-thinking artists and special guests and illustrating a dynamic set of sonic aesthetics to usher in a new era of diverse music and an open-minded approach to the dancefloor. Expect searing audio that resides on the very cutting edge of bass music.

Sonic innovators 'BROKEN NOTE' are proud to present their long awaited second album instalment 'EXIT THE VOID' - a collaboration between creative label forces MethLab Recordings, Slug Wife Recordings & Broken Note Recordings – available on 12” vinyl and digital formats.

'BROKEN NOTE' mark the bleeding edge of bass music across 15 tracks as they display an unerring commitment to the creation of boundary breaking sonic sequences. As a symbol of social cohesion in divided times manifested through the collaboration of independent labels and artists, 'EXIT THE VOID' serves as a soundtrack for a disenfranchised generation.

A cutting-edge body of work emblematic of the Broken Note sound, 'EXIT THE VOID' draws on a wide array of influences from across the autonomous and subversive spectrums of the underground.

'BROKEN NOTE' have been hard at work in the nine years that have passed since the release of their groundbreaking Terminal Static LP, releasing a full seven EPs that have further solidified their multifaceted heavyweight sound.

'EXIT THE VOID' follows in the wake of these previous works, presenting a cohesive collection of music that draws from past, present, and future as it delivers a new chapter of the project’s densely amalgamated audio vision.

Sleep Token are a masked, anonymous collective of musicians. “Sundowning, or sundown syndrome, is a neurological phenomenon associated with increased confusion and restlessness in patients with delirium or some form of dementia. The term ‘sundowning’ was coined due to the timing of the patient’s confusion. For patients with sundowning syndrome, a multitude of behavioural problems begin to occur in the evening or while the sun is setting…” Live / Tour Dates: Just completed two sold out headline shows in London and Manchester. Touring in the US in November with Issues. 31 Jan 2020 - London, Islington Assembly Hall. Radio Promo: Plays on Amazing Radio, Arfm, BBC Radio 1, BBC Radio Wales, Bishop FM, Bro Radio, Hard Rock Hell Radio, Hub Radio, Kerrang!, Metal Meyhem Radio, NE1fm, Phonic FM, Primordial Radio, Radio Woking, Radio X, Roundhouse Radio, The Sound Lab, TotalRock, Wizard Radio, WCR. Press Promo: Artist doesn't do interviews. KKKK Kerrang review for their headline show at the Underworld, London on 02/10. Online Promo: Artist doesn't do interviews. News pieces published on Dead Press, Discovered, Ghost Cult Magazine, Soundsphere, The Revival Music, Turn It Up Louder, uDiscover, Maximum Volume Music, Uber Rock, Vulture Hound, Down The Front, Kill Your Stereo, Distorted Sound, Noizze, Kerrang. Social Numbers: Instagram - 7,192 / Facebook - 9,961 / Twitter - 2,032 / YouTube - 3,490 / Spotify Monthly Listeners - 163,093

Consumer formed in 2017 to generate reptile-brain, late capitalist agitprop. Its main tools are over-processed riffs played at high volume, impressionistic slogans, and soundscapes built from analog synths, broken electronics, and tape loops. Past your well-stocked garage, descending into Mammon’s deep world of darkness, with regional coupon circulars in hand, Consumer offers doomy, electro, post-whatever.

Featuring Tim Macuga from Have A Nice Life as well as Have a Nice Life’s live band Myke Cameron (bass), Rich Otero (drums, synths, programming), and Joe Streeter (guitar/engineering).

LIMITED EDITION 500 ONLY COLOURED VINYL LP WITH DOWNLOAD CODE IN GLOSS FINISHED 350GSM BOARD SLEEVE

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Black Vinyl Repress

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

LIMITED EDITION RED VINYL

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!” (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows. In recent years, they’ve experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
‘Reverse Of Rebirth In Universe’ sees the band return to their old label Riot Season for the first time since 2012’s 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

London’s Terminal Cheesecake formed way back in 1988, quickly establishing themselves as a legendary underground band releasing numerous well received albums and the support of John Peel amongst others. The band, like many of the era eventually burned out before remerging in 2013 with a new line up. Terminal Cheesecake circa 2019, featuring Russ Smith, Horseloaf Horseloafson, Neil Von Fish, Dave Cochrane, Johnny J Beat release an new album 'Le Sacre Du Lièvre' on May 10th via Box Records. Their contribution here is two songs long 'Fake Loop' and 'Song For John Part 2', baked in fuzz and swirling distortion. It's a totally different type of high from the Electric Moon side. Whereas the latter go on a spaced out cosmic trip, the Cheesecake side is more of an earthy, dark but equally glorious ride.

First new recordings in a decade from classic thrash metal legends Nuclear Assault - raw, fast, abrasive and delivered with their inimitable cynicism and vitriol. 4-Track EP with etched artist logo on Side B.

Tronos ist das bemerkenswerte Aufeinandertreffen zweier unaufhaltsam kreativer Galionsfiguren des Metal-Undergrounds: Shane Embury (Napalm Death, Brujeria) an Gitarre/Gesang und Produzent Russ Russell (At The Gates, Dimmu Borgir, Napalm Death) an Gitarre/Synths/Gesang schlossen sich mit Drummer Dirk Verbeuren für eine Ladung dunkelsten und atmosphärischsten Metals zusammen.

»Celestial Mechanics« enthält auch eine ganze Reihe an illustren Gastauftritten: Denis »Snake« Belanger (Voivod / Gesang), Erica Nockalls (The Wonder Stuff / Gesang & Violine) sowie gleich drei legendäre Bassisten in Billy Gould (Faith No More), Troy Sanders und Dan Lilker (Nuclear Assault, S.O.D.).

Dieses raketenhafte Debüt-Album, auf dem auch die Black Sabbath Coverversion »Johnny Blade« zu finden ist, wurde von Jaime Gomez Arellano (Ghost, Solstafir, Paradise Lost, Ulver) sowie Russ Russell gemixed. Macht euch bereit zum Abheben!

Mystery Black Metal. To distract himself from more urgent work, Max Rieger (member of Die Nerven, producer of, amongst others, Drangsal, Ilgen-Nur and Jungstötter) approached »Demonji«, using the moniker Obstler (fruit schnaps). Black Metal interests him, but he does not know the genre very well. When the drummer of the group Juli, Marcel Römer, played six minutes of »black metal drums« for him, within three days Rieger quickly added guitar and vocals to then put »Demonji« in his drawer for two years. Meanwhile, Rieger is already working on a second Obstler album.

Mysterium Black Metal. Um sich von dringenderer Arbeit abzulenken, ist Max Rieger (Mitglied von Die Nerven, Produzent von u.a. Drangsal, Ilgen-Nur und Jungstötter) unter dem Namen Obstler »Demonji« angegangen. Black Metal interessiert ihn, besonders gut kennt er sich mit dem Genre aber nicht aus. Als ihm der Schlagzeuger der Gruppe Juli, Marcel Römer, en passant sechs Minuten »Black-Metal-Drums« einspielte, ergänzte Rieger innerhalb von drei Tagen schnell Gitarre und Gesang, um »Demonji« dann für zwei Jahre in die Schublade zu legen. Mittlerweile arbeitet Rieger bereits an einem zweiten Obstler-Album.

SUMAC is a new band comprised of Aaron Turner (ISIS, Mamiffer, Old Man Gloom), Nick Yacyshyn (Baptists), and Brian Cook (Russian Circles, Botch). 
The Deal is SUMAC's debut album, released on CD earlier this year by Profound Lore.  Sige now presents a deluxe 2xLP version limited to 800 copies in a custom letterpress printed LP jacket and O-card, with design by Aaron Turner and artwork by Faith Coloccia. The Deal was recorded by Mell Dettmer (SunnO))) & Boris, Eyvind Kang, Wolves In The Throne Room) and mixed by Kurt Ballou (Converge, High On Fire, Old Man Gloom). 
SUMAC have already played extensively thoughout their native Northwest region in 2014/2015, and have national and international tours scheduled for later 2015.
'The Deal capitalizes on an energy of unease, building from moments of fractured disquiet into a tumult of guitar tones and the disjointed rhythmic patterns of drum- mer Nick Yacyshyn. ....Sumac takes its strengths from a powerful fragmentation.' - Pitchfork
'Jumping into the inky blacks of The Deal is the kind of experience that proves the classic dictum: with risk comes reward.' - Pop Matters
'....the songwriting is cantankerous in its refusal to give the listener immediate gratification, shunning traditional song structures for a non-linear, more organic exploration of tonality, pressure and release, and devastating density.' - The Quietus
'The term 'supergroup' usually has a negative stigma attached to it, but in Sumac's case, there's no better way to describe them. ...Sumac is a band that truly embodies artistic brilliance. Simply put, The Deal is an album that absolutely should not be missed.' - Heavy Blog is Heavy