Cerca:the nuclear so

Crystal Clear w/Black Marble

Das britische Alternative Metal-Quartett SVALBARD meldet sich mit seinem neuen Album "The Weight Of The Mask" zurück, dem Nachfolger des von der Kritik hochgelobten "When I Die, Will I Get Better?", das sowohl bei Kerrang als auch bei Metal Hammer in die Top 10 der Alben des Jahres 2020 aufgenommen wurde.
Seit ihrer Gründung im Jahr 2011 haben SVALBARD die Dynamik eines fahrenden Güterzuges erreicht - sie haben drei Alben veröffentlicht und dabei ihre vielfältigen musikalischen Einflüsse weiter verfeinert: Black Metal, Hardcore und Post-Metal, Anleihen aus Videospiel-Soundtracks, sogar Grindcore und Dream Pop, alles eingebettet in einen verzerrten und doch dynamischen Sound. Dabei bringen SVALBARD die Realität psychischer Erkrankungen und die Auswirkungen von Depressionen auf Beziehungen und Kommunikationsfähigkeit auf den Punkt.
Mit "The Weight Of The Mask" werden SVALBARD immer stärker - nicht nur als einer der hellsten Funken im Metal und Zeitgenossen einer aufkeimenden modernen britischen Metalszene, sondern auch als Verfechter der psychischen Gesundheit.

Nachdem CARNIFEX seit über 18 Jahren als Band existiert, experimentieren sie weiterhin mit frischen Songarrangements und verleihen ihrem inhärenten Deathcore-Fundament einen einzigartigen Sinn für Atmosphäre. Als es an die Aufnahme ging, wurden diese Orchestrierungen vom Filmmusikkomponisten Spencer Creaghan zum Leben erweckt. „Wir haben ihm die Vorproduktion geschickt und dann hat er das Riff weggelassen, eine außerirdische Atmosphäre hinzugefügt und die Gitarren aufgewertet. Spencer ist ein wunderbarer Autor.“
Mit seinen Blastbeats, geschwärzten Riffs, schweren Breakdowns und epischen Orchesterarrangements ist es ein viszerales Erlebnis, wie es nur CARNIFEX liefern können.

Die Nachauflage von SOULFLY "Totem" erscheint als silberne LP.

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

After re-signing to Nuclear Blast in early 2021, the Finnish heavy metal sextet BATTLE BEAST are once again getting ready to unleash their force upon the world in the shape of their brand new masterpiece »Circus Of Doom«. The album is set to be released on January 21st 2022 via Nuclear Blast and in true BATTLE BEAST fashion, the 10 tracks blend true heavy metal with pop and rock-vibes, paired with Noora Louhimo’s unique voice. »Circus Of Doom« was once again recorded at JKB Studios in Helsinki, Finland and produced and mixed by keyboardist Janne Björkroth, while the stunning artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of BATTLE BEAST’s previous two album designs.

Having only formed in 2008, BATTLE BEAST first signed a record deal with the renowned German metal label Nuclear Blast in 2011. The release of their acclaimed debut »Steel« (2012), won the band a support slot for their labelmates NIGHTWISH. Frontwoman Noora Louhimo finally joined the band in 2012 and the band’s self-titled record (2013) was released shortly afterwards. BATTLE BEAST then got the opportunity to open for bands such as SONATA ARCTICA and POWERWOLF on extensive runs. Their ascent up the metal ladder was quick and the band’s 3rd studio album »Unholy Savior«, achieved remarkable chart positions all over Europe (#1 Finland, #23 UK Rock, #39 Germany etc.). This release was accompanied by another big European tour, but this time with Swedish heavy metal heroes SABATON and DELAIN. BATTLE BEAST’s very first headline run throughout the Continent rounded off their »Unholy Savior« touring cycle.
Their 4th studio album, »Bringer Of Pain« in 2017 reached even higher chart positions (a.o. #1 in Finland, #14 in Germany) and was also BATTLE BEAST’s first output without their original songwriter Anton Kabanen. In 2019, alongside the huge #1 success in the album charts of their home country, Finland, their last album »No More Hollywood Endings« reached a remarkable #11 in German album charts and proved to be their most successful piece yet.
Their latest masterpiece, »Circus Of Doom«, is overall heavier, but still as catchy as ever with bangers like “Masters Of Illusion”, “Freedom”, or the title track “Circus Of Doom”. Once again, the band stay true to their formula of “100% heavy metal - 0% bullshit!”

Recently reformed Swedish death metal pioneers DISMEMBER are proud to announce that they have once again joined the ranks of NUCLEAR BLAST RECORDS, where they released their demo, Reborn In Blasphemy (1990), their 1991 debut album, Like An Everflowing Stream, as well as the four records that would follow. Between 1988 and 2011 DISMEMBER earned a notorious reputation as the “Motörhead (version) of death metal”, through eight classic albums and furious live shows around the globe. The band was formed by Robert Sennebäck, David Blomqvist and Fred Estby in Stockholm, Sweden, in 1988 and has long since been regarded as one of the originators of the trademark Swedish death metal sound, next to other pioneering bands such as ENTOMBED, GRAVE and UNLEASHED. DISMEMBER recorded a couple of self-released demos before their 1990 demo cassette, Reborn In Blasphemy, with Matti Kärki on vocals and ENTOMBED's Nicke Andersson taking over most lead guitar parts, got picked up for a wider release by NUCLEAR BLAST RECORDS. In 1991, their first full-length, Like An Everflowing Stream (Nuclear Blast Records), saw the light of day, which was recorded by Tomas Skogsberg at the now legendary Sunlight Studios, and featured Richard Cabeza (UNANIMATED) on bass. DISMEMBER released their acclaimed sophomore album, Indecent & Obscene, in 1993, which to this day remains their most successful output.

Released in 1997, the fourth studio album by Sweden's DISMEMBER totally lives up to its title, and provides a harsher, more aggressive sound than its predecessor. Including a barrage of great tracks like 'Misanthropic', 'Of Fire', 'Silent Are The Watchers', it also marked the debut of drummer Fred Estby as producer. This remaster by Patrick W. Engel adds an impressive additional punch resulting in the ultimate version of this classic.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

Daptone bzw Soul/R&B/Reggae Fans dürfen sich freuen! Victor Axelrod, legendärer Produzent, Arrangeur, Aufnahme- und Mischtechniker, sowohl als auch Keyboarder hat bereits über mehr als zwei Jahrzehnte diverse Veröffentlichungen des New Yorker Labels veredelt.

Mit 'If You Ask Me To...' erscheint nun die erste LP unter seinem Namen für das Label - eine exzellente Sammlung an Singles, die zwischen 2007 und 2023 veröffentlicht wurden, sowie unveröffentlichten Tracks von Sugar Minott und Binky Griptite. Der Ursprung des Albums liegt in einer Anfrage von Daptone nach einem Sharon Jones-Remix (2007), aus dem die Reggae-Version von 'How Long Do I Have To Wait For You?' hervorging. Dies öffnete die Tür zu weiteren Erkundungen von Reggae/Soul-Synergien innerhalb des Katalogs und bestätigte die musikalische und kulturelle Verbindung zwischen Daptones 'Kern-Soul-Sound' und Axelrods Leidenschaft für jamaikanische Musik. Dank Axelrods außergewöhnlichem Geschmack und den bemerkenswerten Beiträgen des Gitarristen Tom Brenneck, Originalbändern aus Bob & Genes MoDo-Diskografie, Mitgliedern von The Frightnrs u.a. aus der New Yorker Reggae-Community wird das Vermächtnis bahnbrechender jamaikanischer Künstler wie Alton Ellis, Tony Gregory und Ken Parker weiterleben und eine ganz neue Generation von Reggae- und Soul-Fans inspirieren.

Das wohl melodischste und zugänglichste Album der schwedischen Band DISMEMBER, "Massive Killing Capacity", brachte Hits wie 'Casket Garden', 'On Frozen Fields', 'Collection by Blood' und 'Life - Another Shape of Sorrow' hervor. Mit mehr Maiden-ähnlichen Parts und ziegelsteinschweren Grooves zeigte das 1995 veröffentlichte Album, dass DISMEMBER mehr sein können als nur eine musikalische Kettensäge, die deine Ohren zerreißt.

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output. Following our release of Courts Or Wars, combining their early material, we are proud to reissue their only full length album, World Of Rubber.

Fueled by experimentation in both song construction and recording techniques, the duo leave you enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Indeed, the goal had been to make each album a concept album, with this to be titled: Second Layer’s World Of Rubber. Alas, this was to be the first and last of those efforts. New detailed liner notes from Graham Bailey shed considerable light on the creation of this cold classic and its immediate aftermath.

Bailey’s inventive construction and deconstruction of various electronics, effects boxes and tape loops form the propulsive base for these songs. Borland’s guitar playing is jagged and unleashed. Above it all is an undeniable sense of melody and Adrian’s distinctive vocals. Soon, they would wonder where Second Layer ended and The Sound began, but World Of Rubber would stand as a document of this fertile period. It would also be a lasting testament to their desire to push the boundaries of their creativity. Dark and brooding the result is what Bandcamp described as “brutally bleak, blank-eyed post-punk that remains chillingly compelling.”

2023 Repress

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.

The first vinyl release from American artist Sydney Spann, Sending Up A Spiral Of well encapsulates Spann’s body of work thus far. On their music, which reacts to themes of family systems and care work, Sydney writes, “people who have done care work —nannies, sex workers, therapists, nurses— may possess their own musical knowledge, developed over time through particular modes of voicing practiced to achieve a desired outcome in their labor. Attending intimately to these ways of voicing and listening and bringing them into a sound practice could be a way to legitimize a less recognized kind of musical knowledge.”

Sending Up A Spiral Of explores this unarticulated expression through sound and song. The titular piece traces Spann within some quixotic woodland, as if beginning inside of some urban fairy-story. Self-soothing singing quivers under dragging branches, peeling cement and other tactile grit. The work drops into a new proximity half-way through as electronic contours overtake the environment. Sine-tones smolder in a pulsating choreography, perhaps reminiscent of Richard Maxfield’s “Night Music” played at half-speed.

The second section of the record depicts a series of five smaller portraits, expressed (or disguised) as lullabies. An oceanic humming permeates them. “Possession” and “Purposeful Evening” are the most song-like lullabies, with their verse-chorus repetition and melodic simplicity. Innocuous words “baby” and “honey” are encoded with deeper, often painful connotations. Sydney’s voice and vision for this album is ambitious, cloaked in the strains and contradictions of what love means in the nuclear family.

A 16-page artist pamphlet of rubbings, photographs and sheet music accompanies the LP, along with a digital PDF of Spann’s thesis “Sending Up A Spiral Of: A Musical Epistemology Made Through Care Work.”

Die Gezeiten schwellen an, während die nächste Welle des britischen Metal weiter an Fahrt aufnimmt, angeführt von den Genre-Pionieren SYLOSIS und ihrem brandneuen Werk "A Sign Of Things To Come".
Vom feurigen Modern Thrash des 2008er Debüts "Conclusion Of An Age" und den epischen Nachfolgern "Edge Of The Earth" (2011) und "Monolith" (2012) bis hin zur direkten, ganzheitlichen Brutalität von "Dormant Heart" (2015) und "Cycle Of Suffering" (2020) haben Sylosis mit Stolz die Fahne für anspruchsvollen, aber kompromisslosen Metal hochgehalten. Jetzt, mit neuer Musik bewaffnet, meldet sich Sylosis in der internationalen Metalwelt mächtig zurück!
A Sign Of Things To Come ist nicht nur das bisher kürzeste Sylosis-Album, sondern auch das beste der Band: Vom Thrash-Krieg des Eröffnungsstücks 'Deadwood' und der knurrenden Groove-Metal-Wut von 'Pariahs' über den taumelnden Sludge und den erhabenen Refrain von 'Eye For An Eye' bis hin zu den schimmernden Gothic-Doom-Vibes von 'Thorns' war die Phrase "all killer, no fucking filler" noch nie so zutreffend. Zehn Songs, zehn Triumphe: Mission erfüllt.
Sylosis sind zurück, um alle daran zu erinnern, wie echter Heavy Metal klingt, wenn er von den Besten der Besten gespielt wird. Nachdem ihnen die Chance verwehrt wurde, als Support für Cycle Of Suffering auf Tour zu gehen, ist das Feuer für einen karrierebestimmenden Albumzyklus nun endgültig entfacht!

Die Gezeiten schwellen an, während die nächste Welle des britischen Metal weiter an Fahrt aufnimmt, angeführt von den Genre-Pionieren SYLOSIS und ihrem brandneuen Werk "A Sign Of Things To Come".
Vom feurigen Modern Thrash des 2008er Debüts "Conclusion Of An Age" und den epischen Nachfolgern "Edge Of The Earth" (2011) und "Monolith" (2012) bis hin zur direkten, ganzheitlichen Brutalität von "Dormant Heart" (2015) und "Cycle Of Suffering" (2020) haben Sylosis mit Stolz die Fahne für anspruchsvollen, aber kompromisslosen Metal hochgehalten. Jetzt, mit neuer Musik bewaffnet, meldet sich Sylosis in der internationalen Metalwelt mächtig zurück!
A Sign Of Things To Come ist nicht nur das bisher kürzeste Sylosis-Album, sondern auch das beste der Band: Vom Thrash-Krieg des Eröffnungsstücks 'Deadwood' und der knurrenden Groove-Metal-Wut von 'Pariahs' über den taumelnden Sludge und den erhabenen Refrain von 'Eye For An Eye' bis hin zu den schimmernden Gothic-Doom-Vibes von 'Thorns' war die Phrase "all killer, no fucking filler" noch nie so zutreffend. Zehn Songs, zehn Triumphe: Mission erfüllt.
Sylosis sind zurück, um alle daran zu erinnern, wie echter Heavy Metal klingt, wenn er von den Besten der Besten gespielt wird. Nachdem ihnen die Chance verwehrt wurde, als Support für Cycle Of Suffering auf Tour zu gehen, ist das Feuer für einen karrierebestimmenden Albumzyklus nun endgültig entfacht!

Das neue Album von PHIL CAMPBELL AND THE BASTARD SONS "Kings of the asylum" erscheint als lilane LP im Gatefold, inkl. Lyric Sheet.

Nach bereits weltweit gefeierten Veröffentlichungen, kommt das dritte Album des legendären MOTÖRHEAD-Gitarristen Phil Campbell und seiner Band bestehend aus seinen Söhnen sowie dem neuen Sänger Joel Peters mit 11 Songs zum abrocken und mitsingen - passend zu ihrer ausgedehnten Europa-Tour von September bis November 2023.

Das neue Album von PHIL CAMPBELL AND THE BASTARD SONS "Kings of the asylum" erscheint als lilane LP im Gatefold, inkl. Lyric Sheet.

Nach bereits weltweit gefeierten Veröffentlichungen, kommt das dritte Album des legendären MOTÖRHEAD-Gitarristen Phil Campbell und seiner Band bestehend aus seinen Söhnen sowie dem neuen Sänger Joel Peters mit 11 Songs zum abrocken und mitsingen - passend zu ihrer ausgedehnten Europa-Tour von September bis November 2023.

new music in nearly 30 years Includes 11 brand new songs written by the band The Cowsills will be on the road through 2023 supporting the new record Some of the best music made in the last 60 years has been delivered by musical families. Think about it . . . The Everly Brothers, The Beach Boys, Bee Gees, The Jackson 5, The Staple Singers, Pointer Sisters, Kings Of Leon, Oasis . . . and The Cowsills! Starting in 1965, The Cowsills was composed of six siblings, performing their instruments and singing those glorious harmonies as only families can. Originally starting as a regional act (from Newport, Rhode Island), the group was “founded” by Joda Records owners Danny Sims and reggae/pop singer Johnny Nash (“I Can See Clearly Now”) in the mid-’60s for whom they recorded a handful of singles before turning towards more national recognition when they were signed to MGM Records in 1967. At this point, the group’s mother Barbara and young sister Susan joined the act and they were awarded a Gold record for over one million copies sold of their very first single for MGM, the sublime, “The Rain, The Park & Other Things.” This began a series of chart records that dominated the Top 40 for the next three years. Among the classic Cowsills recordings are “We Can Fly,” “Indian Lake,” “Hair” (from the rock musical Hair), and “Love American Style” (the theme song from the popular ABC-TV show of the same name). The group also recorded and charted with five successful albums during this time period. The band and their story were even the inspiration for the popular 1970s sitcom The Partridge Family. The group was also a prosperous touring attraction up through 1972, spreading their harmonious hope and love to an adoring fan base. They even had their own comic book published in 1968. As all families do, the group went through a series of changes, disbanding in 1972. But music never left the soul of this tuneful and melodic kin. Over the years, the group, as individuals, continued to make music and even reunited in 1978 and 1993 to make historic records that are woefully out of print. Now, nearly 30 years after their last recordings as a group, The Cowsills are returning with new music for the new world! Omnivore Recordings is proud to announce the release of Rhythm Of The World. Eleven brand new songs written by the band. The ambassadors of goodwill and love will be on the road through 2023 thrilling fans with their classic hits and soon to be new favorites!

Since 2003, Cleveland, OH's Midnight have been peddling their classic homage of self styled Black Rock N' Roll, building up sizable catalog for their ever growing fanbase. "Shox Of Violence." corrals all of Midnight's early EPs and splits into one savory collection of heavy metal madness. "Shox Of Violence" features four (at the time of original release) new songs plus a covers of Venom's "Too Loud For The Crowd" that was available exclusively to subscribers of Decibel magazine, some super-rowdy live tracks and a handful of covers of Midnight favorites from The Spits, Quiet Riot, Girlschool, The Pagans, Australia's Taipan and NWOBHM cult Crucifixion among others.

Nach mehr als einem Jahrzehnt ist es an der Zeit, den heiß begehrten Katalog der Stockholmer Death-Metal-Legenden DISMEMBER endlich neu aufzulegen!

An erster Stelle stehen das legendäre Debüt „Like An Ever Flowing Stream“, das ein dynamischeres Master vom Juni 1991 enthält, das noch nie zuvor auf Vinyl verwendet wurde, die barbarische EP „Pieces“ und das klassische Zweitwerk „Indecent & Obscene“. Alle Alben verfügen über ein hochwertiges Artwork, das auf neuen Hüllenscans der Erstpressungen basiert, und wurden von Patrick W. Engel im Temple of Disharmony für Vinyl gemastert, um einen „originalgetreuen“ Klang zu bewahren.

Alle Neuauflagen wurden zusammen mit DISMEMBERs Mastermind und Schlagzeuger Fred Estby erstellt, um sicherzustellen, dass diese unverzichtbaren schwedischen Death-Metal-Klassiker in makellosen, zeitlosen Editionen zurückkehren.

Gegründet von Sänger Jake E (ex-AMARANTHE) und Gitarrist Jesper Strömblad (ex-IN FLAMES), hat sich CYHRA von einer Band, die an die früheren Projekte des Duos erinnert, zu einer ganz eigenen Identität entwickelt.

Mit der Ergänzung von Lead-Gitarrist Euge Valovirta (ex-SHINING) und Schlagzeuger Alex Landenburg (KAMELOT) hat die Gruppe zwei von der Kritik gefeierte Alben veröffentlicht: “Letters To Myself“ (Spinefarm) aus dem Jahr 2017 und “No Halos In Hell“ (Nuclear Blast) aus dem Jahr 2019 - ein Album, das von Rock TV (Japan) als "Bestes Album des Jahres 2019" ausgezeichnet und vom Power Play Magazine (UK) mit einer perfekten 10/10 bewertet wurde!

Und jetzt, im Jahr 2023, ist die Band mit dem kürzlich hinzugekommenen Gitarristen Marcus Sunesson (ex-THE CROWN / ENGEL) bereit, sich mit ihrem dritten und bisher stärksten Album „The Vertigo Trigger“ zurückzumelden.

Sänger Jake E.: "Ich denke, dass wir einen fantastischen Nachfolger für die ersten beiden Alben gemacht haben. Gleichzeitig haben wir es auch geschafft, das Songwriting zu modernisieren. Ich kann euch versichern, dass kein CYHRA-Fan enttäuscht sein wird!“

First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts

enabling him to become the most special agent of W.I.N. (World Intelligence Network).

Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways

the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,

with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.

It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.

For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility

and a more mature musical palette which are amply illustrated in this 24 track collection.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

Der Reprint von DEMONAZ "March of the norse" erscheint als weiße LP. Limitiert auf 800 Exemplare!

2LP Glow In The Dark Vinyl Reprint limited to 3.000 units

IN FLAMES repräsentieren das Beste aus Vergangenheit, Gegenwart und Zukunft des Metal. IN FLAMES sind heute genauso vital und sogar noch energiegeladener als in den vergangenen Jahrzehnten, als sie Klassiker wie Come Clarity und Clayman herausbrachten.

Die Band hat sich einen umwerfenden Ruf erspielt, indem sie auf der ganzen Welt bei jedem erdenklichen großen Rock- und Metal-Festival mitreißende und inspirierende Auftritte absolvierte, als Headliner auf mehreren Tourneen auftrat und mit Bands wie Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation und Lamb Of God tourte. Sie treten regelmäßig auf einigen der größten Bühnen und Festivals der Welt auf.

"Foregone", das furiose vierzehnte Studioalbum, verbindet die größten aggressiven, metallischen und melodischen Stärken ihrer bahnbrechenden Alben mit dem ausgereiften Songwriting ihrer postmodernen Ära. "Foregone" schafft es meisterhaft, wenn auch unwahrscheinlich, alle Seiten der In Flames-Fangemeinde mit kraftvoller Wucht zu bedienen.

Ein Gefühl von Stolz, Leistung und anhaltender Vitalität ist jedes Mal, wenn die Band die Bühne betritt, und überall auf "Foregone" zu spüren. Als Pioniere des Melodic Death Metal und innovative Verfechter des Grooves sind die Kunst, der Einfluss, die Größe und die Zukunft von In Flames so groß wie der Heavy Metal-Horizont selbst.

"The Aggression Sessions" ist der Nachfolger von "The Depression Sessions" aus dem Jahr 2016 und folgt demselben 6-Song-Mini-Album, bei dem jede Band eine Originalsingle und einen Coversong anbietet. Für diese Session covern THY ART IS MURDER Cannibal Corpse und FIT FOR AN AUTOPSY At The Gates, während MALEVOLENCE einen Song der amerikanischen Sängerin Anastacia übernehmen.

THY ART IS MURDER, einer der australischen Exportschlager, feiert derzeit das 10-jährige Jubiläum ihres bahnbrechenden Albums "Hate". Morgen wird die Band den letzten Termin ihrer US-Tournee in Patchogue, NY, spielen. Die nächste Station ihrer "Decade Of Hate"-Welttournee ist Europa, wo sie die Bühne mit ihren Labelkollegen FIT FOR AN AUTOPSY teilen werden.

Die sechsköpfige Band FIT FOR AN AUTOPSY aus New Jersey hat im Januar 2022 ihr sechstes Album "Oh What The Future Holds" veröffentlicht.

Mit ihrem von der Kritik hochgelobten neuen Studioalbum "Malicious Intent" haben MALEVOLENCE ihren Platz als eines der Schwergewichte des zeitgenössischen Metals gefestigt. Die aufstrebenden britischen Stars sind nun auf dem Weg, die Welt zu erobern, und haben bereits das Publikum auf Festivals wie dem Download Festival, dem Bloodstock Festival, dem Knotfest Germany und dem Bring Me The Horizon Malta Weekender umgehauen, nicht zu vergessen eine riesige UK-Arena-Tour mit ARCHITECTS und SLEEP TOKEN sowie Termine auf dem EU-Festland mit LAMB OF GOD.

Seit ihrem mittlerweile legendären Debut »The Last Supper« von 1995, haben sich Hauptakteur Helmuth und seine Mitstreiter gnadenlos, mit technischem Können,
raffiniertem Songwriting und wahrhaft blasphemischen Texten, an die Spitze gearbeitet. Reprint in dunkelgrünem Vinyl.

Die australische DeathCore-Combo Thy Art Is Murder lauschte viel Slipknot und Hatebreed und reicherte die aggressive Melange mit den genretypischen Growls und einem fetten Death Metal-Riffing an.

In »Reign Of Darkness« ziehen sich die Gewitterwolken dunkel zusammen, um sich dann in »The Purest Stain Of Hate« komplett zu entladen. Eine astreine Knüppelorgie, die keine Gefangene nimmt. Der anschließende Track »Vile Creations« wiederum besticht mit dem Hardcore-immanenten Groove, der in den zehn Tracks der Platte immer wieder auftaucht. Der letzte Track, »Doomed From Birth«, schließt sogar atmosphärisch die Klammer zum Auftakt.

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

Triple LP box-set on coloured 180g vinyl. Includes 62x62cm poster. Artwork and remaster exclusive to Fuzz Club Bootlegs. This King Gizzard And The Lizard Wizard’s ‘Live In Sydney' bootleg album was recorded when the prolific Australian group descended on The Enmore Theatre in Sydney, Australia on April 22nd 2021.

Comprised entirely of King Gizzard’s microtonal material, the resulting 16-track triple LP draws heavily from their recent ‘K.G.’ and ‘L.W.’ records as well as 2017’s ‘Flying Microtonal Banana’. This bootleg is remastered exclusively for Fuzz Club and arrives as a triple LP box set with new and exclusive artwork by Elzo Durt. Each box-set also includes a 62cm x 62cm poster.

Applaus für GRAVEYARD, die mit „Lights Out“ nicht nur die Erwartungen erfüllt, sondern diese sogar noch übertroffen haben, denn auch wenn man sich für „Goliath“ als Single-Auskoppelung entschieden hat, auch jede andere Nummer hätte sich diesen Status verdient. Kurzum: Mit „Lights Out“ machen die Burschen klar, dass alle Spots auf sie gerichtet werden müssen! Zweifarbige Neuauflage!

Repress!

N0!zy blighter Russell Haswell returns to Diagonal 5 years after his label debut with a spontaneously combusting follow-up to ’37 Minute Workout’ generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of interwingularity and transclusion chimed with the direction recordings took.There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His 2nd volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. For the record (this one in particular), we’re all over it like a hot rash.
Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the 1st volume of ’37 Minute Workout’, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 2nd volume of ’37 Minute Workout’ is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of eething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed.
Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into 7 wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of ‘The Wild Horses of the Revolution have arrived Without Knight’ to steel-hoofed clatter in ‘Central Crisis Management Cell’ and the lacquer-eating dynamics of ‘Painful
Memories From The Past Need To Be Acknowledged’, before toning a proper nasty acid special in the UR inversion ‘Dancing on the Head of an Eagle’, and seemingly sucking your brain out thru a straw with ‘Starting Something You’re Not Able To Finish’, with the dry witted, skeletal jazz-funk squirm of ‘Diplomatic Cocktail Circuit’ closing the party down in style.

Das erfolgreiche Debüt Album der Göteborger Melodeath-Szene Pioniere für kurze Zeit als limitierte 2-farbige Nachpressung – solange Vorrat reicht!

Tuff Darts was an American punk rock band. They reached their greatest fame in the mid-late 1970s with such songs as “Slash”, “(Your Love Is Like) Nuclear Waste” and their biggest single, “All for the Love of Rock and Roll”, which was originally recorded by Ram Jam. The band appeared at popular New York City clubs like Max’s Kansas City and CBGB and featured Tommy Frenzy (vocals), Jeff Salen (guitar), Bobby Butani (guitar), John DeSalvo (bass), and John Morelli (drums). In 1978, the group released their debut album Tuff Darts!, on Sire Records, produced by Bob Clearmountain and Tony Bongiovi.

This NYC punk rock classic, Tuff Darts!, is available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl and includes an insert.

Für Fifth Angel-Fans oder Fans von melodischem Power Metal ist dieses Album einfach ein Muss. Die Texte und Themen der letzten Trilogie der Fifth Angel-Alben werden zu einem doppelten Konzeptalbum verwoben, das sich in die Reihe von Helloweens "Keeper of the Seven Keys", Pink Floyds "The Wall" oder Queensryches "Operation Mindcrime" einreiht: "When Angels Kill" ist ein Paradebeispiel für "All Killer No Filler" US Metal. Jeder Song ist ein eigenständiges Werk, und die Doppelvinyl-, CD- und Digitalversionen sind fast siebzig Minuten lang. Fifth Angel melden sich nach ihrem gefeierten "The Third Secret" (2018) mit einem Paukenschlag zurück, der herausragende Tracks wie "When Angels Kill", "On Wings of Steel", "We Are Immortal", "Resist The Tyrant" und "Empire of Hate" zu bieten hat.

Extrem melodischer, eingängiger und makelloser Metal für Fans von Queensryche, Judas Priest und Metal Church ist, was FIFTH ANGEL auf dem Titeltrack ihres vierten Werks "When Angels Kill" liefern. Obwohl die Band in den 80er Jahren gegründet wurde, ist Retro nicht das, was diese Jungs wollen. Das hier ist zeitloser, kraftvoller Metal in seiner besten Form!

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

STELLAR CIRCUITS wurden 2015 gegründet, um die konzeptionellen Gegensätze von grooveorientierter Musik und progressiver Technik zu verbinden. Im Laufe des Quartetts ist es ihnen gelungen, ihre eigene Prophezeiung zu erfüllen, indem sie einen Kernsound formuliert haben, der komplex und vielschichtig ist und gleichzeitig eine Hörbarkeit bietet, die weit über das Rock-Genre hinausgeht. Lebendig, intellektuell, groovig, technisch und melodiös sind nur selten Indikatoren, die alle verwendet werden können, um die akustische Essenz einer Band zu beschreiben. Im Fall von STELLAR CIRCUITS ist diese seltene Kombination in allem, was sie tun, auffallend und definitiv vorhanden.

Das Quartett aus North Carolina, bestehend aus dem Sänger Ben Beddick, dem Bassisten Jesse Olsen, dem Gitarristen Jared Stamey und dem Schlagzeuger Tyler Menon, bildet eine effektive und unvergleichliche Einheit, die zweifellos neue Hörer begeistern und langjährige Anhänger mehr als zufrieden stellen wird. Mit 11 Original-Tracks, die selbst die anspruchsvollsten Aficionados beeindrucken werden, macht "Sight to Sound" die globale Musiklandschaft darauf aufmerksam, dass STELLAR CIRCUITS endgültig angekommen sind.

Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.

The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.

The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.

This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.

Voice Magnetic by Hainbach is the enigmatic Berlin based artist’s sonic diary of 2022. On his sixth release on Seil Records, Stefan Goetsch collages the sounds he made and the ones that surrounded him over the course of twelve months into a powerfully intimate ambient experience.

In his studio or on travels — Hainbach always is working on new material and allows the locations he records his tracks in to find their way into the music. Consequently, on many tracks you can can hear the outside bleeding in — seagulls and waves on "Izmir", the voices of his children while record the piano or the sirens of Neukölln’s police cars in background.

The connecting threads between these pieces are magnetic tape and the human voice — hiss and breath. The result are 15 immersive ambient pieces that make up Voice Magnetic. Often short like the moments that spark them. Fading and intricate, honest and pure.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Zum ersten Mal auf Vinyl, zuzsammen mit den anderen Farben vom November. Fast 20 Jahren nach seiner ursprünglichen Veröffentlichung erscheint "Regressus", das großartige zweite Album von Mystic Prophecy, endlich als limitiertes Vinyl. Das Album wurde ursprünglich am 16. Juni 2003 von Nuclear Blast veröffentlicht und war das zweite Album mit dem zukünftigen Ozzy Osbourne-Gitarrenhelden Gus G.

Zum ersten Mal auf Vinyl, zuzsammen mit den anderen Farben vom November. Fast 20 Jahren nach seiner ursprünglichen Veröffentlichung erscheint "Regressus", das großartige zweite Album von Mystic Prophecy, endlich als limitiertes Vinyl. Das Album wurde ursprünglich am 16. Juni 2003 von Nuclear Blast veröffentlicht und war das zweite Album mit dem zukünftigen Ozzy Osbourne-Gitarrenhelden Gus G.

Zum ersten Mal auf Vinyl, zuzsammen mit den anderen Farben vom November. Fast 20 Jahren nach seiner ursprünglichen Veröffentlichung erscheint "Regressus", das großartige zweite Album von Mystic Prophecy, endlich als limitiertes Vinyl. Das Album wurde ursprünglich am 16. Juni 2003 von Nuclear Blast veröffentlicht und war das zweite Album mit dem zukünftigen Ozzy Osbourne-Gitarrenhelden Gus G.

Die schwedische Industrial-Kultband DEATHSTARS meldet sich mit ihrem neuesten Output "Everything Destroys You" endlich zurück.
Verstärkte Angst, zerstörerische urbane Partynächte, Dystopie und glatter Glamour - ihr vielfältiges musikalisches Spektrum reicht von elektrischen, blitzschnellen Highways voller Spaß, Action und Adrenalin bis hin zu Dunkelheit und tiefschwarzem Humor.

"Der Grund, warum es so lange gedauert hat, ist, dass wir einfach eine Pause wollten - und brauchten - nach dem intensiven Touren und so weiter, und obendrein ist die Pandemie passiert, so dass die Touren verschoben wurden und die Veröffentlichung mit ihnen, so dass es sich fantastisch anfühlt, endlich 'Everything Destroys You' präsentieren zu können", sagt Nightmare Industries.

"'Everything Destroys You' ist das Gesicht der Exzesse unserer opulenten Nächte in der Stadt. Wir schreiben immer über unser Leben, und es gibt keine Fiktion, Spiritualität oder Seele im Mark von DEATHSTARS", sagt Whiplasher. "Es ist einfach nur das vernarbte Großstadtleben im Rohzustand."

Das fünfte DEATHSTARS-Album wurde von Nightmare Industries bei Black Syndicate in Stockholm, Schweden, produziert und von Jay Ruston (Stone Sour, Uriah Heep, Anthrax, Steel Panther, Fall Out Boy) in Los Angeles, USA, gemischt und gemastert.

Der 2023 Reissue von HYPOCRISY's "Penetralia" erscheint als transparent grüne LP im Gatefold.

WATAIN ist der Wolf, der furchtlos und frei in der dunklen Nacht des Menschen weiterjagt Seit 1998 haben sich WATAIN einen Namen als eine der bekanntesten und berüchtigtsten Black-Metal-Bands der Welt gemacht. Auf ihr Schaffen wird oft mit Furcht, Liebe, Verwirrung oder Ehrfurcht, aber selten mit Gleichgültigkeit reagiert.


Aufgenommen in einer alten Kirche auf dem schwedischen Lande, bringen WATAIN dem Hörer das innerste Herz einer Band näher, die trotz aller Gerüchte und Kontroversen stets nach aufrichtigen, authentischen Ausdrucksformen strebt.


Die 10 Songs stammen aus der Feder des Gründertrios von WATAIN (E. Danielsson, H. Jonsson und P. Forsberg), und markieren das erste Album, das in voller Besetzung mit A. Lillo, H. Eriksson und E. Forcas aufgenommen wurde. Das Material wird zusätzlich durch Gastauftritte von Farida Lemouchi (Ex The Devil's Blood, jetzt bei Molasses) und Gottfrid Åhman (Ex In Solitude, jetzt bei PÅGÅ) bereichert. "The Agony & Ecstasy of Watain" entstand mit Produzent Tjore Stjerna in der Chapel Of Necromorbus, wurde von Thomas Johansson im The Panic Room gemastert, während Bandkopf E. Danielsson für das eindrucksvolle Artwork und Layout zuständig war.

Behold the might of Rodan, the giant monster from the sky! In 1956, Toho unleashed their first colour kaiju picture: RODAN, directed by Ishiro Honda and produced by Tomoyuki Tanaka, is a terrifying tale from the creators of the original Godzilla that sees a giant Pteranodon rise from a deep underground cave after being disturbed by miners. Like the Big G, Rodan has mutated to excessive size after being exposed to nuclear radiation, subsequently soaring free above Kyushu to cause as much mayhem as possible as the JSDF do their best to protect the island from his bloodthirsty rampaging. It was inevitable that the man behind the music of Godzilla would also take on scoring RODAN, and the great Akira Ifukube created a score with a solemn edge as with Godzilla, which makes the music of RODAN fit in the larger universe while allowing it to feel unique to the character. For the main theme, Ifukube introduces a malevolent low piano and brass phrase before cointerpointing it with horns to create a howling menace worthy of Rodan. In contrast, beautiful but melancholy material represents the carnage the monster has brought upon the Earth; in a more upbeat mode, the composer includes another of his jaunty and jazzy marches for the JDSF in the guise of "Get Rodan". It's another Toho triumph from the great maestro Ifukube! (Charlie Brigden)

Nach ihrem bislang erfolgreichsten Album 'The Agony & Ecstasy of Watain' in 2022 (Top 10 in Schweden & Deutschland) und pünktlich zur neuen Europa-Tour im Mai und den Festivals im Sommer 2023 legt die schwedische Black-Metal-Band Watain ihren Klassiker von 2018 jetzt auch in limitierter Vinylauflage neu auf: 'Trident Wolf Eclipse" kommt auf silber-weiß-marmorstrukturiertem Vinyl mit 12-seitigem Original-Booklet.

Limitiert auf 1.000 Exemplare!

Die schwedischen Progressive Death Metaller SCAR SYMMETRY haben die Wiederveröffentlichung von vier ihrer klassischen Alben angekündigt. Pitch Black Progress (2006), Holographic Universe (2008), Dark Matter Dimensions (2009) und The Unseen Empire (2011) werden alle am 14. April zum ersten Mal auf Vinyl erhältlich sein.

Limitiert auf 1.000 Exemplare!

Die schwedischen Progressive Death Metaller SCAR SYMMETRY haben die Wiederveröffentlichung von vier ihrer klassischen Alben angekündigt. Pitch Black Progress (2006), Holographic Universe (2008), Dark Matter Dimensions (2009) und The Unseen Empire (2011) werden alle am 14. April zum ersten Mal auf Vinyl erhältlich sein.

Der Reprint von SOILWORK "Natural Born Chaos" erscheint als weiße LP im Sleeve

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Yellow Black Splatter Vinyl

Wild und kompromisslos in ihrer Ausführung, ist CARCASS's Fähigkeit, die Innereien des Death Metal zu sezieren und sie für uns klanglich zu verstehen, seit mehr als drei Jahrzehnten der Punkt ihrer Exzellenz.

Classic 5th studio album (2001) from Norwegian symphonic Black Metal band, now remixed and remastered.

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Dark Green Vinyl

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Death fucking Metal from Peru! A nuclear detonation of shredding and unbridled aggression! Spectral Souls was born in the beginning of 2019 in Lima, Peru, and from the beginning the idea was to work within the Old School Death Metal genre, going back and being inspired by the late 80’s and early 90’s bands and classic albums. During 2019 the band continued with the composition process and did it the first concert in mid 2019. At the beginning of 2020 and during the pandemic, the recording process of the first album “Towards Extinction” began at the Giovani Lama Studios. Because of the pandemic situation with government lockdowns and other obstacles, the recording took longer than expected, but luckily, after almost a year and a half of hard work, it was completed. The album contains 11 songs, in which different aspects within the old school Death Metal sound are explored, thus giving a sensation of interesting dynamics. The theme of the album is inspired by the humanity’s capacity for self-destruction, exploring the misery of man and his great enemies, such as religion, politics and social networks. When Hammerheart Records heard “Towards Extinction” they could not resist offering Spectral Souls a worldwide deal. “Towards Extinction” simply is a killer Death Metal album that brings to mind “Leprosy”, “From Beyond” and “Consuming Impulse”.

Green Vinyl

Das Iconoclast Album gab es im Juni 2011 damals nur in den Farben blau und weiß als Vinyl in Europa.
Ca 12 Jahre später wurde das Album nun mit grünem Vinyl nachgepresst.

Es scheint keine Superlative zu geben, die diesem Meilenstein gerecht werden könnte. Das Opus ist nicht nur unheimlich innovativ,
sondern auch überraschend hart und trotz der progressiven Perfektion durchaus eingängig ausgefallen.

Das düstere und abermals sehr harte »Underworld«, knüpft musikalisch 2015 nahtlos an ihren – eigentlich unschlagbaren - Meilenstein »Iconoclast« an
es stellt jedoch den symphonisch-opulenten Aspekt in ihrem Sound wieder stärker in den Vordergrund.

Nach grün, silber und schwarz, folgt diese LP nun in einem limitierten Auflage in blau.

Svart Records, by kind permission from Nuclear Blast, present a 10th anniversary repress of the band's fourth album Legend, pressed on 180 gram vinyl and with the original gatefold artwork. 2012's Legend was a departure for Witchcraft in many ways. Not only did they change half of their lineup and leave the previous label, also gone was the fuzzy warm analog sound of their previous three albums. Witchcraft have never made the same album twice, and Legend is certainly no exception. The album boasts a muscular modern production by Jens Bogren that really make the band's trademark doom riffs shine, and the songwriting is confident over the album's ten tracks of perfect retromodern revivalist doom.

Svart Records, by kind permission from Nuclear Blast, present a 10th anniversary repress of the band's fourth album Legend, pressed on 180 gram vinyl and with the original gatefold artwork. 2012's Legend was a departure for Witchcraft in many ways. Not only did they change half of their lineup and leave the previous label, also gone was the fuzzy warm analog sound of their previous three albums. Witchcraft have never made the same album twice, and Legend is certainly no exception. The album boasts a muscular modern production by Jens Bogren that really make the band's trademark doom riffs shine, and the songwriting is confident over the album's ten tracks of perfect retromodern revivalist doom.

Transp. Red Rainbow Splatter Vinyl

Die Alben von Fear Factory sind Film-artige Klanglandschaften, die an die dystopischen, postapokalyptischen Zukunftsvorstellungen klassischer Science-Fiction-Literatur und -Filme von Ray Bradbury bis Blade Runner erinnern. „Recoded“ bietet neu interpretierte Versionen von Songs ihres zehnten Studioalbums "Aggression Continuum". Ähnlich wie bei der erfolgreichen Crossover-Veröffentlichung "Remanufacture" im Jahr 1997, die auf das bahnbrechende "Demanufacture"-Album zwei Jahre zuvor folgte, nimmt sich "Recoded" einen Moment Zeit, um sich auf die Industrial- und Dark-Wave-Seite der Band sowie ihre Metal-Wurzeln zu konzentrieren und das vielgepriesene Album von 2021 auf brillante Weise zu dekonstruieren und zu einer neuen Soundkulisse umzubauen. Was auch immer kommen mag, Fear Factory werden da sein, um den Soundtrack für die unsicheren Zeiten der Menschheit zu liefern.

Ya’ll know it is time to get ready for some bass drum pressure. So there is a number eleven on their roster from JJ Fortune. The moniker of an Irish DJ and a producer who at the moment lives in Melbourne, Australia. Now he is mostly releasing new music on his own Pachinko and Rizzwax record labels, like the serious guys do. But now it is time to take a step further from the homeland and check in with Moscow.

Classic deepest deep house-ish style grooves with some extra spices and cream but also edgy 8-bit passages on top. With all the respects to the roots this young man will show up with some new school body movements. Fresh Irish blood is definitely ready to boil up the dance music scene a bit. B-side remix duties are

RNT brings the heat for their 2nd outing in their Family Affair compilation series, representing both their ever-expanding RNT ménage, as well as their tight knit musical nuclear fam.

Side A welcomes two seasoned producers to the catalog for the first time: Red Axes with their flip of fellow Israeli Nenor’s banger 'Do You Remember', and Chicago legend Boo Williams comes correct with 'Besty Smith', characteristically bumping and soulful.

OG RNT artist Frank Booker delivers his classic sampley deep sound with 'Time Won’t Tell', and Underground System’s Peter Matson takes JKriv’s 'Something Else' in a synthy and modern electro disco direction to round out the B side. Aural hugs all around in this fam jam!

MEMORIAM needs no introduction ‐ they are living legends of Old School Death Metal. Not only because the former fields of activity of the Brits belonged and still belong to the pioneers of UK Death Metal, but because they managed to follow their master plan more than precisely. MEMORIAM has built up their own loyal fan base over the past
seven years and developed its own musical identity. It would certainly have been easy for them to just follow the old paths, but the true art of the band is that they never deny their origins, but gradually incorporate something new ‐ with every album a few new nuances and facets are added.

The sheer speed of their creative output shows how consistently MEMORIAM follow this path: Following the initial success of the HELLFIRE DEMOS trilogy, MEMORIAM signed with Nuclear Blast in 2016. The band went on to release FOR THE FALLEN (2017), THE SILENT VIGIL (2018) and REQUIEM FOR MANKIND (2019) ensuring within a very short time that MEMORIAM were firmly established among loyal Death Metal fans. This wassupported by dozens of concerts, which have taken the band from selected club shows to major festival appearances (e.g. Hellfest, Wacken, Summer Breeze, Graspop). Following the success of this initial trilogy, MEMORIAM switched to the young label Reaper Entertainment. The album TO THE END, the first of a new trilogy, was released in 2021. The second album of the trilogy, RISE TO POWER, will be released in early 2023.

RISE TO POWER will not only once again offer an atmospherically dense Dan Seagrave cover, the war theme stylized on it also runs through Karl Willetts’ lyrics: With 'Never Forget, Never Again (6 Million Dead)' about the Holocaust and the, unfortunately, more than current 'Total War' about the war in Ukraine, Karl is more political than ever. "I am
writing 'our burden and shame' instead of 'their' as I believe it is our collective responsibility to ensure that something like the Holocaust never happens again. I feel that it is my responsibility as a frontman and lyricist to write about the things that I feel are important," explains Karl. MEMORIAM transforms aggression and grief into
uncompromising Death Metal energy. Also musically the mentioned above development process continues.

While the opener still serves the essential Death Metal groove, MEMORIAM becomes more variable with each additional song and keeps adding new dynamics into their Old School Death Metal sound ‐ from brutal grooves ('Annihilation's Dawn') via doomy‐melodic parts like in 'I Am The Enemy' up to aggressive Nordic riffing like in 'Total War'. RISE TO POWER is an extremely varied album, as Karl confirms: "That's Scott's style, he comes from a different generation than Frank, Spike and me. He brings in influences from bands I haven't even heard of. It gives us the balance between old and new, and it works pretty well for us.” (Thomas Strater)

Nach der Veröffentlichung von "Acoustic Adventures -
Volume One", besteht der Großteil des zweiten Kapitels
aus schnelleren Stücken wie 'Black Sheep', dem
Allzeit-Live-Klassiker 'FullMoon' und 'Flag In The Ground'.
Aber SONATA ARCTICA wären nicht SONATA ARCTICA,
wenn sie auf Nummer sicher gehen würden: 'San
Sebastian' oder der Abschlusstrack 'Victoria's Secret'
schaffen es, ein völlig neues, erfrischendes Gefühl beim
Hörer zu verbreiten; ein Gefühl, das man natürlich am
besten vor einer Bühne erleben kann! Um diese
besondere Saga zu vollenden und endlich den
Startschuss für ihre nächste, mehrfach verschobene
"Acoustic Adventures"-Tour zu feiern, um die
Corona-geschüttelten finnischen und europäischen
Festland-Gemüter zu erheben. Aber erst einmal: Kommt
ins Wohnzimmer, lehnt euch zurück und folgt SONATA
ARCTICA auf ihrer abgespeckten, aber nicht minder
spannenden Reise in die Welt der akustischen Musik...!

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

The legend of Twilight Force began to form in the year 2007 of the Human Era. It was the result of a yearning to bring back the golden age of Epic Symphonic Power Metal. But Twilight Force soon became an entity of its own, evolving and elevating the genre to new heights and sounds. By fusing triumphant melodies with rich orchestral arrangements and swift performances, Twilight Force creates an intense and immersive experience. Transporting the listener to a magic realm filled with wonder, heroic tales and mesmerising tales from the mythical world known as The Twilight Kingdoms.

Using their vast experience from previous musical endeavours, their classical training, and technical proficiency, Twilight Force spawned the first ever Adventure Metal album in 2014 H.E. - Tales of Ancient Prophecies. Two more critically acclaimed albums followed in its wake, Heroes of Mighty Magic (2016), and Dawn of the Dragonstar (2019), with the fourth opus At the Heart of Wintervale set for release on January 20th, 2023 on Nuclear Blast Records.

Once again, the cover artwork has been created by the brilliantly skilled Kerem Beyit, and is directly connected to the album’s title track as the band explains: “It depicts the tale told in ‘At the Heart of Wintervale’ where an evil curse is broken, and the ancient dragon may finally roam the realms again, free and unfettered!"

At the Heart of Wintervale will be released on CD, Digibook, and Vinyl. The limited Digibook edition will also include three bonus tracks. The first one is a song, many of the band's loyal knights may somewhat recognize; it is an acoustic blend of some of the older works, featuring an entrancing vocal performance and guitar work by Twilight Force's very own wood elf Aerendir. The second and third bonus tracks are orchestral versions of two songs from the album, where fans will have the opportunity to experience a different soundscape, and perhaps discover new exciting elements and intricacies never discerned before.

With the band embarking on a headlining tour through Europe and UK on time with the album’s release, Twilight Force look immensely forward to continue their epic tale.
“So, sharpen your swords, dust off your magic tomes, and brew your strongest potions. It is time to join Twilight Force on their quest for the eternal glory of the Twilight Kingdoms, once again.
May the Power of the Dragon guide you!”

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

2022 marked the 20th anniversary of Symphonic Metal titans EPICA. After nearly 1 million albums sold worldwide and over 300 million combined streams on all digital platforms, the Dutch combo has manifested their talent to combine metal with unique operatic vocals and has gained a huge international fanbase after performing over 1.000 shows in more than 60 countries on all continents. This is a limited edition vinyl release of the band’s debut album (2003).

2022 marked the 20th anniversary of Symphonic Metal titans EPICA. After nearly 1 million albums sold worldwide and over 300 million combined streams on all digital platforms, the Dutch combo has manifested their talent to combine metal with unique operatic vocals and has gained a huge international fanbase after performing over 1.000 shows in more than 60 countries on all continents. This is a limited edition coloured vinyl release of the band’s 4th studio album (2009).

Dividing Lines ist eine Sammlung emotional starker Denkmäler des ewigen Aufruhrs der Menschheit und mag eine düstere Platte für dunkle Zeiten sein, aber in seinem Herzen liegt eine Botschaft der Hoffnung auf bessere Zeiten.

Wenn die Zukunft dieses Planeten düster aussieht, wird zumindest der Soundtrack spektakulär sein. Dividing Lines ist ein Album voller Schatten und Licht, Verzweiflung und Hoffnung; die menschliche Erfahrung, gerendert in schillernden Breitbildfarben und mit all der Intensität und Leidenschaft aufgeführt, die Thresholds mehr als drei Jahrzehnte aktiven Dienst geprägt haben. Die britischen Könige des Prog Metal sind zurück und bereit, die Welt erneut zu erobern.

Während "Legends Of The Shires" eine in sich geschlossene Erzählung darstellte, die es THRESHOLD ermöglichte, ihrer Fantasie freien Lauf zu lassen, verzichtet "Dividing Lines" auf diesen konzeptionellen Ansatz zugunsten einer traditionelleren Gruppe von Songs, die durch ein verschwommenes, aber unverkennbares gemeinsames Thema verbunden sind.

Gold Vinyl

Dividing Lines ist eine Sammlung emotional starker Denkmäler des ewigen Aufruhrs der Menschheit und mag eine düstere Platte für dunkle Zeiten sein, aber in seinem Herzen liegt eine Botschaft der Hoffnung auf bessere Zeiten.

Wenn die Zukunft dieses Planeten düster aussieht, wird zumindest der Soundtrack spektakulär sein. Dividing Lines ist ein Album voller Schatten und Licht, Verzweiflung und Hoffnung; die menschliche Erfahrung, gerendert in schillernden Breitbildfarben und mit all der Intensität und Leidenschaft aufgeführt, die Thresholds mehr als drei Jahrzehnte aktiven Dienst geprägt haben. Die britischen Könige des Prog Metal sind zurück und bereit, die Welt erneut zu erobern.

Während "Legends Of The Shires" eine in sich geschlossene Erzählung darstellte, die es THRESHOLD ermöglichte, ihrer Fantasie freien Lauf zu lassen, verzichtet "Dividing Lines" auf diesen konzeptionellen Ansatz zugunsten einer traditionelleren Gruppe von Songs, die durch ein verschwommenes, aber unverkennbares gemeinsames Thema verbunden sind.

After 9 full length studio albums and playing their asses off at over 800 shows, the Finnish disco metal machine Turmion Kätilöt is ready for the next level in their world dominance. Their 10th full length studio album “Omen X” will be released in 36 countries on 13th January 2023 via Nuclear Blast. The touring cycle starts in Finland immediately after the release of Omen X. Band will play its biggest show ever in Helsinki Ice hall on 14th January 2023. After couple of shows in the home country “Omen X” will be served all over Europe with 20 gigs inFebruary 2023 – see the full show schedule below.
”In the Omen X production, we encountered only positive problems. Due to the closures caused by Covid 19, there were so many songs available this time that it was even painful to choose only one album of songs from them. The amount of material and the difficulty of selection seemed to take up an unnecessary amount of valuable studio time at times. Otherwise, making the album went smoothly as always. From the artist's point of view, the album got a hell of a new sounds and atmosphere. A very cleansing experience. The tenth prophecy has been given. You're welcome!” - MC Raaka Pee
Turmion Kätilöt was formed in 2003 in Finland by MC Raaka Pee and Dj Vastapallo. Soon they were joined by the other members of what would become Turmion Kätilöt: Master Bates, Run-Q, DQ and Spellgoth as a second vocalist. With a couple of line-up changes as Dj Vastapallo left the band in 2009 replaced by Bobby Undertaker on guitars (ex-Deathchain) and Spellgoth leaving in 2017 replaced by Shag-U (Fear Of Domination) on vocals, Turmion Kätilöt has become the mean disco metal machine they are today.
From the very beginning Turmion Kätilöt has had a reputation of being a great live band. Disco beats from the 90’s, metal to the pedal, melodies, sing-a-longs, you name it – there are no rules. Yet still if you peek under the skin you can find the darkness pointing its finger to you. Their live shows have been praised to be the fiercest and craziest mayhem to be witnessed creating the twisted world of Turmion Kätilöt.

Compiling all E.P.'s by Bootlicker, "Lick The Boot, Lose Your Teeth" presents 24 tracks originally released over four 7"s dating back to 2017. From the earliest incarnation of the band and the start of their signature production and sound to where they are now. With the overblown martial drumming, completely pinned clean guitar attack, Bootlicker has been a fresh take on D-Beat tradition with a handful of Oi/UK82 and American Hardcore influence on the side. Each 7" is compiled here and represents a different phase of the band. The completely broken speaker aggression of "Who Do You Serve", the slight Rock 'n' Roll influenced "Nuclear Family" and bare bones approach of the "Six Track E.P." all paved the way to a more realized sound in "How To Live Life". Instead of tracking down each out of print, individual E.P. Here they are for the taking.