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Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

All the more reason to listen thoughtfully.

In 2021 - re-emerging nearly twenty years after its initial inception, and first time on vinyl - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Passages (originally released in 1997) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

Moundabout is a new folk project from Paddy Shine of Gnod and Phil Masterson of Los Langeros/Damp Howl/Bisect, but the words ‘new’ and ‘folk’ need to be treated with care here. Listening to ‘Flowers Rot, Bring Me Stones’ is like entering a trance state while staring at one of the Knowth spiral carvings at Brú na Bóinne in Ireland - the megalithic art in the neolithic “passage tombs” which also contain the oldest known representation of the moon made by man. As the album moves the listener, they are taken on a geographical and geological journey as well as psychological and spiritual, traveling inwards from the coast as well as down beneath the strata. And when you have been primed, it takes you all the way back to commune with older gods on the album’s epic centrepiece, ‘Dick Dalys Dance’, creating the kind of prehistoric drones and trance-inducing rhythms that the echoing, celestially aligned corridors of the Brú na Bóinne were built to amplify. This is not new music but the deep sensations it provokes will be new to most listeners. Imagine for a few minutes something as glorious as a Nurse With Wound List for the 21st Century - were I given such a formidable task as to organise such a collection of mind-bending music, Flowers Rot, Bring Me Stones by Moundabout would be one of the first records I would include.

Jodorowsky's Dune tells the tale of cult filmmaker Alejandro Jodorowsky's unsuccessful attempt to adapt Frank Herbert's classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky's own vision for his Dune-a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd.

Building upon director Frank Pavich's idea for a score with a Tangerine Dream-type feel,' Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. I also played guitar and did vocals,' says Stenzel, some chanting... and some screaming, which comes naturally to me.' The score also features narration by Jodorowsky himself. As Stenzel notes, Jodo's voice is actually the soundtrack's main musical instrument-listening to him was almost like hypnosis, like going to the guru every night.'

This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a four-sides' LP approach. I wanted it to play like the records I grew up with, where every side was a journey.'

The album, which features some incredibly exciting and varied names including neo soul up-and-comer Greentea Peng, American jazz & soul vocalist Lady Blackbird (on ‘Sunlight’) and British blues vocalist Natalie Duncan, shows off both the rich history and calibre of Goldie and James Davidson’s individually but also how they can create something together that’s so cohesive and forward thinking. The sound the duo have been able to create is also partly due to their geographical locations over the past 18 months, bouncing ideas between Davidson’s studio in Bournemouth on the south coast and Goldie’s house in Phuket, Thailand; showing two songwriters and producers at the top of their game responding to a year and a half in very different atmospheres but similar trying circumstances.
Lead single from the album ‘Dassai Menace’ (released with double A-side ‘Fathoms’) was picked up by Virgil Abloh who used it to soundtrack his Louis Vuitton SS22 fashion film ‘Amen Break’ (watch here), with Goldie walking in the accompanying catwalk show. Goldie will also be in residence throughout the month of February 2022 on BBC Radio 1 alongside the likes of world renown DJ’s Sama' Abdulhadi, Folamour, Or:la, LCY and Scratcha DVA.

Technology for the Afterlife (aka Victor Groth) is an ambient/new age
artist from Denmark, set to release his debut album Interpretations of
Eternity on Cracki Records in the spring.
The instrumental album explores the frontiers between faith and knowledge, consciousness and oblivion, past and future. It is about longing for a time when rationality and spirituality are not arch enemies, but one and the same.
When there is neither science nor religion: Only mythology.

Over the course of eight studio albums, Mary Gauthier has firmly planted herself as a truth teller, a songwriter unafraid to dive into the emotional core of her chosen subject. Her poignant songs move people deeply and often evoke an emotive response. It is one of the many things that connect her so deeply to her fans, and why they love her. On Dark Enough To See The Stars, she mourns the loss of dear friends that include John Prine, Nancy Griffith and David Olney, but Gauthier takes a slightly different course by offering an optimistic side of herself with songs that celebrate the joy of new love and personal contentment. With The Band-inspired opening track “Fall Apart World”, the tender and thoughtful “About Time” and the eternally grateful “Thank God For You”, it’s evident that with Gauthier’s life experience she takes nothing for granted. She also looks at love from a different perspective in remembrance of her departed colleagues and mentors with songs such as “How Could You Be Gone” and “’Til I See You Again”. The title track, co-written with Beth Nielsen Chapman, is a realization that through loss and darkness there can be a beautiful sense of clarity and an understanding about what truly matters.

"Robot Hive/Exodus" is the second of initially four albums reimagined and individually curated by a band member, in this case Dan Maines, and reissued as part of the Clutch Collector's Series. The first album in this new series was Blast Tyrant, curated by Jean-Paul Gaster. TheRH/E artwork is in the vein of the original "Blast Tyrant" yet strikingly different. The vinyl release is remastered and manufactured on 180-gram colored vinyl which in turn is stored in extra heavy sleeves. The gatefold jacket is printed on metalized polyester paper, and each album includes a numbered insert autographed by the band. As an extra special element this 2xLP includes a 7" with two tracks: "What Would a Wookie Do?" and "Bottoms Up, Socrates". These two songs were originally among the 16 songs written and recorded for Robot Hive/Exodus back in 2005 but were left off the final album for time purposes. We are glad to have these recordings return home as part of the RH/E Collector’s Series limited to 7,500 units worldwide.

Robot Hive/Exodus (Ltd. Collector's Series/2LP+7"):
- The 12" colors are "Metallic Silver" with "Metallic Gold"
- Bonus 7" with two additional tracks
- Remastered Audio
- Limited Edition
- 2xLP 180g Colored Vinyl
- Artist Autographed Numbered Insert

Here is a quote from Dan, who quarterbacked this project re the two tracks on the 7" (the 7" is black vinyl in its own sleeve):

"What Would a Wookie Do?", and "Bottoms Up, Socrates" were among the 16 songs written and recorded for Robot Hive/Exodus back in 2005. For time purposes these two were left off the final album. We are glad to have these recordings return home as part of the Robot Hive/Exodus Collector’s Series.

The Unique Leader debut from one of the fastest rising names in American Deathcore - following their seminal US tour with Lorna Shore, CROWN MAGNETAR unleash their lightspeed brand of nightmarish brutality. Essential for fans of Beneath the Massacre, Lorna Shore, Thy Art is Murder.

Zov Zov, a musical project formed by London-based duo Oliver Ho and Tommy Gillard, create a raw soundscape that is very appropriate for the era we are currently living in. The human race depends on destruction, the annihilation of our fellow man and the devastation of our environment, peace and coexistence is just a condition we experience between one war and the next. Songs of Blood And Earth is an EP based on experimentation and the development of intense textures. Blessed Are The Killers opens the A-side of the album with a minimalist first sequence involving only a kind of deep bursts and a tinkling sound that can remind us of hunger queues and the isolation suffered when the aggressor force sweeps over a vast territory. Musically, however, the track intensifies with heart-wrenching textures that hover above a haunting and disturbing vocal. On the next cut, The Maim, a constantly interrupting rhythmic structure reigns, which gives the feeling that at some point it will have a proper continuity, however, and although that continuity never comes, these pauses perfectly define the main idea which is that of the splitting of one or more body parts. The B-side of the EP is entirely religious in nature. Amen 2.5 is an updated version of the atrocities committed in the name of religion, a harsh sonic tale, in which a crushing roar subdues the listener to the point of collapsing his or her capacity for reasoning. The Holy Murder takes a more sinister turn, this time there is an incessant dominance with an unstoppable base that advances without changing its tempo or its form, in which everything that is built on it ends up yielding to its grandeur and ferocity. Godess Of The Hunt, the last track of the album, denotes an enormous cruelty, represented by the terrified screams of the victims who succumb to its exterminating atmosphere.

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Rare EP from this much sought-after Kristin Hersh side project. Black Vinyl LP. Back on vinyl for this Kristin Hersh fronted project, a super rare 2016 EP of enchanting and exhilarating sounds that shift from dreamy and emotional melancholy to jagged and almost Neu!-like rhythms that evolve behind her pointed prose and astute one-liners. A rush to the head that’s caustic yet comforting.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

A1. DA SHAKE
A synthesizer-based production machine that turns inspiration into sound at maximum speed
recorded or extract (a small piece of music or sound) digitally for reuse as part of a composition or song like this one.

A2. GARDEN OF EDEN
In Abrahamic religions, the Garden of Eden (Hebrew: גַּן־עֵדֶן, gan-ʿĒḏen) or Garden of God (גַּן־יְהֹוָה, gan-YHWH), also called the Terrestrial Paradise, is the biblical paradise described in Genesis 2-3 and Ezekiel 28 and 31.12
The location of Eden is described in the Book of Genesis as the source of four tributaries. Among scholars who consider it to have been real, there have been various suggestions for its location:3 at the head of the Persian Gulf, in southern Mesopotamia (now Iraq) where the Tigris and Euphrates rivers run into the sea;4 and in Amnesia Ibiza

B1. HOLLOW
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the Hollow

B2. REC 4
If the recording is going on, the capture button turns red. In addition, a timer will be displayed, showing how long the recording is done.

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

Sacred Bones is an independent record label and publishing company based
in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.