Cerca:aggression

We bring Patrik Carrera to our team, starting our relationship with this "Inevitable Decay EP". The Australian born, Berlin based producer, offers four slices of modern techno, balancing aggression with hypnosis along four cuts.

"Standing Fog" uses a mega distorted kick and resonant hypnotic bleeps on top, reminding the old X 102 feeling. No remorse in this track, straight to the point madness.

"Altered Form" relies on a complex groove, with asymmetrical components and is heavily texturized, the main synth line goes on forever while different elements go back and forth. The rhythm grows in intensity on the final moments, adding distortion and dirtiness.

"Liquid Toil" goes hyperspace, abstract sinusoidal sequences float over an opaque groove that is soon filled with shuffled 909 hats and sci-fi textures. Jeff Mills will love this one.

"Influx" puts the eye in old Birmingham tools, with a reverberated repetitive sequence over a shuffled beat, things move just a bit, keeping the pace linear and obsessive making a superb mixing tool.

A diverse EP with a personal approach to intelligent dance territories, music that could be from 10 years after today, from the future.

Gute Neuigkeiten für Good Riddance-Fans! Nach sehr limitierter Verfügbarkeit der Erstauflage (schwarzes Vinyl) gibt es noch eine Nachpressung. Die zweitauflage kommt als Apple Red Vinyl. Die aus Santa Cruz, Kalifornien, stammende Band ist eine feste Größe in der Punkszene und bekannt dafür, die Lücke zwischen rasantem Skate-Punk und der rohen Intensität des Hardcore zu schließen. Sie werden für ihre ,intellektuelle Aggression" gefeiert, einen einzigartigen Sound, der rasante Drum-Geschwindigkeiten und scharfe Gitarrenriffs mit überraschend eingängigen Melodien verbindet. Für neue Hörer repräsentiert die Band den Goldstandard des Genres und beweist, dass Punk unglaublich schnell und aggressiv sein kann, während er gleichzeitig musikalisch ausgefeilt und technisch präzise bleibt. Über ihre klangliche Strahlkraft hinaus dient die Band als wichtige Einführung in die aktivistischen Wurzeln des Punkrocks. Unter der Leitung von Sänger Russ Rankin tauchen ihre Texte tief in Themen wie soziale Gerechtigkeit, Tierrechte und politische Kritik ein und bieten eine viel tiefgründigere Perspektive als typischer Alternative Rock. Durch die Auseinandersetzung mit klassischen Alben wie "A Comprehensive Guide to Moderne Rebellion" können Fans genau hören, wie Punk als kraftvolle Stimme für Marginalisierte und als engagierte Plattform für die Infragestellung des Status quo dient. Die Relevanz der Band ist nach wie vor ungebrochen, seit 2015 ungebrochen zurück, das letzte Album kam 2019, 2024 veröffentlichten sie "No More System to Believe In", eine melodische Punk-Hymne, die moderne Desillusionierung in einen kraftvollen Aufruf zum Handeln kanalisiert. Nach einem strapaziösen Tourplan für 2025, bei dem sie neben ausverkauften Clubkonzerten in Europa und Nordamerika auch auf großen Festivals wie dem Hellfest und der Warped Tour Orlando auftraten, zeigen sie keine Anzeichen einer Verlangsamung. Im Jahr 2026 wird Good Riddance diese globale Dynamik mit umfangreichen Auftritten auf Festivals in der EU und insbesondere in Deutschland fortsetzen. Aufgenommen mit Bill Stevenson (Descendents) im The Blasting Room.

Dry Socket is a politically charged hardcore band from Portland, Oregon, known for blistering performances and emotionally uncompromising songwriting. Rooted in the raw aggression of classic hardcore, their sound channels the urgency of early Ceremony, G.L.O.S.S., and Negative Approach while carving out a distinctly modern, inclusive space within the genre, one where anger, grief, and survival are not just themes, but lived realities.

Their music confronts systems of violence, coercion, and control with unflinching honesty, creating room to be unapologetically furious, vulnerable, and alive at the same time. Every riff lands like a strike; every lyric feels torn from experience rather than abstraction.

Since forming, Dry Socket has toured extensively across the U.S., Europe, and Mexico, sharing stages with Gorilla Biscuits, The Hope Conspiracy, Torso, and more.

Their latest record, Self Defense Techniques, centers on survival under constant pressure. Inspired by the practice of dehorning rhinos to protect them from poachers, removing a vital part of the animal in order to keep it alive, the album examines the compromises people are forced to make to endure a hostile world. Horns are tools for protection, communication, care, and identity. To survive, so many of us are taught to remove our own.

Across the record, Dry Socket interrogates life inside systems that demand silence, obedience, and self-erasure. Songs wrestle with exhaustion, spiritual betrayal, and economic violence, oscillating between fury and grief. Self Defense Techniques isn’t about triumph, it’s about endurance, documenting the cost of staying alive while refusing the lie that softness is weakness or that silence is peace

With American idealism and societal unity in flames, the ethereal ambiance of Denver's ABRAMS has been permeated by vibrating, hair-trigger fury. On new album Loon, wistful melodies warp into dissonance and aggression, and crystalline beauty is inhabited by bitterness and rage. 2024's soaring and driving Blue City was a record full of arresting, nostalgic textures that Metal Hammer Magazine called "an upswell of positivity in the face of frustration that's sure to shake you from your existential slumber." But this is no longer the world of that album. The grinding hopelessness and chaos of these times have infused ABRAMS with the shattering intensity of Converge. Urgent and abrasive, Loon is acerbic, fed up, and riddled with pulverizing fury. Wistful melodies warp into dissonance and aggression. Crystalline beauty is inhabited by bitterness and rage. The band's instinctive hooks aren't gone, and hopeful moments do shine intermittently through. But it's clear that ABRAMS, like a lot of us, are pissed off. Desperate and seething, Loon is an irresistible, frenzied purge from a band refusing to give in. For fans of Torche, Converge, Cave-In, Failure, Quicksand and Hum. Coloured LP (white vinyl) & digipaked CD

Tigercub are a UK alternative rock trio known for their dark, cinematic sound that blends heavy riffs with melodic depth. Fusing elements of grunge, alt-rock, and post-punk, the band delivers emotionally charged songwriting and powerful live performances. Praised for their balance of aggression and atmosphere, Tigercub have toured with acts like Royal Blood, Chevelle, and Highly Suspect, cementing their reputation as one of the most dynamic bands in modern rock.

Florida deathcore heavyweights Bodysnatcher return with their most punishing and purposeful statement to date. ‘Hell Is Here, Hell Is Home’, out April 10, is not an escape record, it is a confrontation. Brutal, unrelenting, and emotionally unfiltered, the album captures a band fully locked into its identity while sharpening every weapon in its arsenal. True to their roots, Bodysnatcher deliver a sound steeped in suffocating grooves, bone-crushing breakdowns, and feral intensity. ‘Hell Is Here, Hell Is Home’ pushes beyond pure aggression. The record explores cycles of trauma, self-destruction, survival, and the uncomfortable truth that for many, suffering is not a phase, it is a place.

This is deathcore grounded in lived experience, written from inside the fire rather than in hindsight. Across the album, Bodysnatcher balance sonic violence with a disciplined sense of control. Downtuned riffs grind with oppressive weight, drums hit with mechanical precision, and vocals swing between outright hostility and grim reflection. Each track feels deliberate, built not just to hit hard, but to linger. With this release, Bodysnatcher continue to cement their position as one of modern deathcore’s most uncompromising voices. ‘Hell Is Here, Hell Is Home’ is a record built for the pit, rooted in truth, unflinching and heavy in every sense, delivered with absolute conviction.

1 Umbrella represents a watershed moment for modern Bay Area hip-hop, effectively serving as the region’s "Avengers" assembly designed to consolidate the Northern California sound. For years, the local scene has been bisected by the distinct "mob music" bounce of Oakland and the melodic, trauma-drenched "pain music" of San Francisco; this collective is the first major commercial force to deliberately fuse these competing energies into a single, dominant infrastructure. The roster is a calculated cross-Bay alliance that balances opposing sonic weights: Lil Bean and Lil Yee anchor the group with the emotive, auto-tune-heavy melodies that define the current SF landscape, while Zaybang cuts through that introspection with his signature high-octane aggression.

Balancing the scales are ALLBLACK and 22nd Jim, who inject the classic East Bay attitude—ALLBLACK delivering the motivational, sports-heavy "player" lineage of the region, contrasted against Jim’s nonchalant, rhythmic flow. Backed by the powerhouse infrastructure of EMPIRE and united under tracks like "Baller Blockin" and the unification anthem "The Blueprint," the group is attempting to solve the fragmentation that has historically plagued the Bay’s independent market. By synchronizing their movement with the arrival of Super Bowl LX, 1 Umbrella is positioning itself not merely as a rap group, but as the official cultural ambassadors for the region, betting that a unified front can finally command the national spotlight that often eludes the West Coast’s independent giants.

Rats Will Feast is an experimental hardcore outfit from Jyväskylä, Finland, crafting a musical landscape of extreme aggression, unyielding emotion and hallucinatory chaos. Active in its current form since 2018, the band has built a reputation for intense live performances and innovative sound. "An Evocation" celebrates Rats Will Feast's diverse and imaginative interpretation of modern metallic hardcore. While the being is deeply rooted in the bands core sound developed over the last 10 years, "An Evocation" refines and expands the bands sound into new unexplored forms. Crushing and extreme, yet intensely melodic and experimental, the album's sound is a forceful expression of unrelenting hardcore with unyielding emotion.

Orange vinyl. Rats Will Feast is an experimental hardcore outfit from Jyväskylä, Finland, crafting a musical landscape of extreme aggression, unyielding emotion and hallucinatory chaos. Active in its current form since 2018, the band has built a reputation for intense live performances and innovative sound. "An Evocation" celebrates Rats Will Feast's diverse and imaginative interpretation of modern metallic hardcore. While the being is deeply rooted in the bands core sound developed over the last 10 years, "An Evocation" refines and expands the bands sound into new unexplored forms. Crushing and extreme, yet intensely melodic and experimental, the album's sound is a forceful expression of unrelenting hardcore with unyielding emotion.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

6 LPS, DVD, 40 PAGE BOOK, CASSETTE
AND FIGURINE USB DRIVE

Endless Pain
(Swirl vinyl with original artwork & inner sleeve)
Pleasure To Kill
(Splatter vinyl with original artwork & inner sleeve)
Terrible Certainty
(Splatter vinyl with original artwork & inner lyric sleeve)
Extreme Aggression
(Half/half vinyl with original artwork & inner lyric sleeve)
Coma Of Souls
(Splatter vinyl with original artwork & inner lyric sleeve)
Renewal
(Swirl vinyl with original artwork & inner lyric sleeve)
Some Pain Will Last DVD
Containing ‘From The Vault’ mini documentary, plus two previously unreleased audio live concerts and an Andy Sneap remix of Live In East Berlin 1990.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

DYING VICTIMS PRODUCTIONS is proud to present ZERRE’s highly anticipated second album, Rotting on a Golden Throne, on CD and vinyl LP formats. From the cellars of Würzburg, Germany, ZERRE have been keeping the torch of old-school thrash metal burning while carving their own vicious path. Their sound draws on the razor-sharp aggression of classic Metallica and Exodus and the stomping groove of early Faith No More: no frills, no mercy. Their third full-length, 2024’s Scorched Souls, tore through the scene and earned critical acclaim for its searing riffs and unflinching energy. Now, ZERRE take a decisive step forward with Rotting on a Golden Throne. Darker, more overtly political, and more aggressive than its predecessor, this fourth full-length dives headfirst into the rot of power, corruption, and human decay – a brutal soundtrack for a world teetering on the edge. Onstage, ZERRE embody the chaos of their music: riff-driven assaults, breakneck tempos, and a raw intensity that leaves no room to breathe. On record, while those influences still remain, but the DNA has been splintered into something more unique and definitely more powerful: thrashing, yes, but within a crossover framework that feels titanic. The production is razor-sharp, but with ominous atmosphere to spare; the execution is even sharper, as the drumming especially pulses like a dread locomotive; and vocals spit forth venom, raging against a machine fatted by suffering. As the throne collapses, ZERRE deliver the anthem of its fall. Keep on Rotting on a Golden Throne!

Alice Kemp is a British artist working with noise, performance, fetish objects, installation and many other forms of media. Throughout her work, she articulates a broken and illogical syntax of the subconscious through trance states, dreams, and disturbances. She has performed extensively, occasionally as an associate to the Schimpfluch-Gruppe of Swiss extreme aktionists.

It is a rarified violence that the Kemp invokes on her 9 Dreams In Erotic Mourning. Something disfigured. Something fucked. Something left behind. The subject matter of her investigations are deliberately inscrutable as she grotesquely amplifies a moment of terror, or fear, of sadness through pockets of piano melodies broken by psychoacoustic noise, razor-cut silence, ghastly vocalizations, crushed acts of physical aggression, and buckets of high-pressure suspense. Cryptic and oblique by design Kemp's work reads perhaps as a seance gone awry, certainly as private ritual made public, and as a transfiguration of literary body horror turned into a sonic nightmare that runs parallel to the works of Rudolf Eb.Er, Puce Mary, Sewer Election, and Luc Ferrari.

9 Dreams In Erotic Mourning was originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

On his second album for Bruk, hoyah חיה continues to take an unflinching look at his Jewish identity while confronted with the heinous actions of the Israeli state. Echoing the name of his Refuge Worldwide radio show, he examines the shared histories of the Jewish diaspora across the Middle East and North Africa — from Morocco to Uzbekistan and everywhere in between. Can I Get A Chayah? is an honest attempt to explore what Judaism could become at a time when the culture faces an existential crisis.

The sonic approach hoyah חיה takes on Can I Get A Chayah? is central to the album's theme, as hard-gated processing on every sound creates a disorienting effect aiming for a kind of 'functional transcendentalism'. From the opening strains of preceding single '808s n Trance Gates' the jagged stop-start intensity of the samples sets a head-spinning tone for the album. The source material comes from across the aforementioned Jewish diaspora, challenging the nationalist idea of the single Jewish state.

Balancing beauty and aggression, hoyah חיה also reaches to a strong cast of collaborators to round out his cultural explorations. Principle among these is the late David German, the US-born guitarist and songwriter behind Silver Jews, whose repeated, bewildered mantras on 'Shalom Aleichem' embody hoyah חיה's own struggles with faith in the face of current horrors. Internationally celebrated Turkish-descent German musician Derya Yıldırım graces 'Talmuds' with her haunting vocal — a tribute to ancient Jewish mysticism that gets passed through the album's unrelenting sonic framework. On 'The Lock' Muha tackles African transcendentalism, while Rael pulls no punches with the questions he poses on the barbed 'This Song Has A Different Title But It Can't Be Published Here Because Of "Reasons"'.

With further prayer recitals on 'Lekha Dodi' and 'The Nose' and videos examining the psychedelic nature of reading the talmud and repetitive prayer movement shuckling, hoyah חיה has taken his research deep into the spirituality of his heritage at a time of crisis for Jewish identity. Naturally, Can I Get A Chayah? is not an easy listening experience, but neither is it a bleak one. There is beauty, mystery, complexity and nuance woven within the stark approach — an intentional, considered statement on a culture much deeper and wider than the barbaric acts of an unrepresentative group of twisted ethno-nationalists.

From the cold North of Sweden, NORNA and LEGBITER deliver a six-track document of contrast, convergence, and uncompromising heavy music. Bringing together two distinct voices, the release explores the many shapes heaviness can take_stretching from crushing, slow-moving atmospheres to sharp, volatile bursts of aggression. Formed by musicians with deep roots in the European underground, Norna approach heaviness as a vehicle for emotional gravity. Their sound is expansive and deliberate, built on massive low-end, tectonic rhythms, and an acute sense of restraint. Legbiter approach heavy music as direct, confrontational, and unrelentingly physical. Rooted in hardcore and metal's most ferocious intersections, the band thrives on immediacy and impact. Legbiter compress time, delivering short, explosive bursts that hit with the force of a live wire. Their sound is lean, aggressive, and unapologetically raw. "Even though we sound very different sonically I think we all have a lot of common ground, not only in being parts of the 90's scenes, but also musically in the somewhat dissonant and harsh guitar parts", says Legbiter guitarist (Rickard Nordström. "Personally, I love splits with bands that don't sound exactly the same, but share some common traits and vibes." "Contrast is everything, we have always tried to flow between despair and beauty. Dynamics are important to us. This split will give you that contrast", comments Norna guitarist and vocalist and former Breach vocalist Tomas Liljedahl. FOR FANS OF Handsome * Quicksand * Fireside * Breach * Helmet * Superheaven * Narrowhead * Metz

Luminous Orange Marbled Vinyl Mit ihrer ersten Veröffentlichung seit sieben Jahren kehren MONSTROSITY eindrucksvoll zurück und präsentieren ein Album, das ihre unverwechselbare Mischung aus purer Aggression, technischer Brillanz und ungebändigter Intensität eindrucksvoll auf den Punkt bringt. Angeführt von Drummer, Gründer und Mastermind Lee Harrison, zeigt sich die Band stärker denn je. Mit Langzeit-Gitarrist Matt Barnes, der triumphalen Rückkehr von Originalbassist Mark Van Erp und der markerschütternden Stimme von Ed Webb (ex Massacre) entfaltet Screams From Beneath The Surface eine Energie, die sofort packt und nachhaltig wirkt. Das Album festigt nicht nur MONSTROSITYs Status als Death-Metal-Institution, sondern erweitert das Genre um frische, mutige Facetten - innovativ und dennoch kompromisslos ihren Wurzeln treu. Die zehn Tracks dieses massiven Werkes verkörpern den rebellischen Geist, der MONSTROSITY seit Jahrzehnten definiert. Songs demonstrieren eindrucksvoll das Zusammenspiel aus vernichtenden Riffs, komplexem Drumming und eindringlichen, bildgewaltigen Texten. Gleichzeitig zeigen sie, wie vielseitig und weiterentwicklungsfähig die Band geblieben ist - neue klangliche Ebenen treffen auf ihre charakteristische, rohe Wildheit. Jeder Titel ist ein Statement, ein Beweis für MONSTROSITYs technische Überlegenheit und ihren kompromisslosen Anspruch, Death Metal auf höchstem Niveau zu liefern.

Mit ihrer ersten Veröffentlichung seit sieben Jahren kehren MONSTROSITY eindrucksvoll zurück und präsentieren ein Album, das ihre unverwechselbare Mischung aus purer Aggression, technischer Brillanz und ungebändigter Intensität eindrucksvoll auf den Punkt bringt. Angeführt von Drummer, Gründer und Mastermind Lee Harrison, zeigt sich die Band stärker denn je. Mit Langzeit-Gitarrist Matt Barnes, der triumphalen Rückkehr von Originalbassist Mark Van Erp und der markerschütternden Stimme von Ed Webb (ex Massacre) entfaltet Screams From Beneath The Surface eine Energie, die sofort packt und nachhaltig wirkt. Das Album festigt nicht nur MONSTROSITYs Status als Death-Metal-Institution, sondern erweitert das Genre um frische, mutige Facetten - innovativ und dennoch kompromisslos ihren Wurzeln treu. Die zehn Tracks dieses massiven Werkes verkörpern den rebellischen Geist, der MONSTROSITY seit Jahrzehnten definiert. Songs demonstrieren eindrucksvoll das Zusammenspiel aus vernichtenden Riffs, komplexem Drumming und eindringlichen, bildgewaltigen Texten. Gleichzeitig zeigen sie, wie vielseitig und weiterentwicklungsfähig die Band geblieben ist - neue klangliche Ebenen treffen auf ihre charakteristische, rohe Wildheit. Jeder Titel ist ein Statement, ein Beweis für MONSTROSITYs technische Überlegenheit und ihren kompromisslosen Anspruch, Death Metal auf höchstem Niveau zu liefern. 180g Black

Hailing from the diverse California “DIY” music scene, San Jose's SUPERWORLD (Brandon Holder, Dan Vo, Drew Satterlund, Francisco Duarte, Cameron MacBain) is a hi-energy screamo act whose music is a celebration of friendship, and whose friendship is a celebration of music. Getting together and writing under the radar for some years, the group would play a handful of sets at local house shows before ever deciding to release a song. Performed with a trademark looseness of feel, their tracks bridge maximalist aggression with the low-key and melancholy, somehow collaging the careful intricacy and sentimentality of early 2010's math rock with subtle pop sensibilities of classic guitar-driven music from the latter half of the 20th century. SUPERWORLD's tonal unpredictability is neither forced nor abashed, and remains tightly bound by each member's approach to the arrangements in whole.

Bruise Control sind eine laute, vierköpfige Punkband aus Manchester, die sich in der britischen DIY-Szene einen Namen gemacht hat. Mit ihrer ungestümen Energie mischen sie die rohe Aggression des 80er-Hardcore mit eingängigen, kantigen Indie-Riffs der frühen 2000er. Ihre neue EP, co-produziert von ihrem Gitarristen Niall Griffin, fängt dieses chaotische, energiegeladene Feeling perfekt ein – mit Mitsing-Refrains, rauem Gesang und einer kantigen Musik, die trotzdem irgendwie melodisch klingt. Das einschlägige Portal Punkinfocus zur Single "Gone To Ground": "Roh, dringlich und emotional ehrlich – ein großartiges Beispiel dafür, wie sie Härte und Melodie ausbalancieren." Vinyl und CD enthalten jeweils 5 exklusive Bonustracks, die im Streaming nicht erscheinen.

*** Vinyl exclusiv

Wie ein schwarzer Wind, der aus längst verstummten Mooren aufsteigt, legt die irische Band Coscradh ihr zweites Album „Carving the Causeway to the Otherworld“ vor, das mit furchterregender Zauberei die Moorwege der Toten freilegt. Aus tief verwurzelter Traditionen und alter Mystik lässt das Album die sechstausend Jahre alten Eichenpfade wiederauferstehen, die von kriegführenden Stämmen unter dem kalten Blick der Druiden angelegt wurden, um in das Reich jenseits des Lebens zu gelangen, und beschwört diese verschwundenen Mühen mit der Erinnerung an die Gewalt selbst herauf. Coscradh kanalisiert den Druiden als Astronomen und Kriegsseher und ruft Mars als den Gott an, dessen rotes Licht Opfer fordert, und offenbart gälische Krieger, die sich zu Gefäßen aushöhlen und die Wut von Goac in sich eindringen lassen, um sie für den Kampf zu verschlingen. Gitarren flammen auf - brennend wie Meteore, die den Horizont durchschneiden - und lassen Riffs los, die mit der Kraft der Vorfahren durchdrungen sind. Der glühende perkussive Ansturm kracht wie Hufe auf tote Erde, während die wilde Grausamkeit der Band wie ein in den Himmel geschleuderter Kriegsschrei ausbricht, gekrönt von ruinöser Pracht. Coscradh bewohnt diesen Bereich zwischen den Welten vollständig und haucht ihrem Werk die Wut und spirituelle Kraft eines Volkes ein, das Wahrheiten in Land, Himmel und Grab gemeißelt hat. Als eine Verbindung aus druidischer Wissenschaft und Blut, ritueller Aggression und sprachlicher Wiederauferstehung zwingt „Carving the Causeway to the Otherworld“ zu einer himmlischen Abrechnung, bei der das Schicksal selbst auf den Altar geworfen wird. Wie Götter, die das Firmament bereisen, fällt Coscradhs kalte, grausame Ausstrahlung auf alle, die sie hören. Das Album ist eine kosmische Hinrichtung, die vergangene Dammwege, Kriegsgötter, Steinidole und sternengeborene Kräfte, die die Druiden zu nutzen suchten, miteinander verbindet. Eine Vision des Nachthimmels als lebendige Festungsmauer der Omen für diejenigen, die auf die alten zornigen Geister hören wollen.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

Much more than just another punk band, Ideal Victim is a wildfire fueled by fury, grit, and defiance. Formed in Porto in 2022, this young outfit proposes a seemingly improbable formula that proves to be both unique and cohesive: over the raw, unyielding energy of 1980’s British hardcore, they layer the hypnotic vibes of surf rock and the nervous tension of rockabilly—crafting a taut and irresistible balance between atmosphere and aggression.​
At the forefront stands the fierce and outspoken roar of vocalist Mariana, supported by the driving cadence of drums and bass, and by a guitar that writhes as it drowns in distortion.​

Ideal Victim belong to a lineage of bands that never asked for permission to exist: from Discharge to Bikini Kill, from The Cramps to Dead Kennedys, their influences are undeniable. Yet, Ideal Victim refuse to echo them in exercises of nostalgia. Their music is urgent, combative, and strikingly current—a visceral response to the shackles of patriarchy and the open wounds of a world in accelerated collapse.​

Propelled by the impact of their demo Diary of a Pig and a considerable amount of stage experience, Ideal Victim now presents Rage Letters, a debut album that reflects the band's evolution through a set of six brief tracks—where nothing is left unsaid, nor unshouted.​
With Rage Letters, Ideal Victim extend us an invitation to insubordination—and it's one we can't help but accept.

Overtoun is a Death/Thrash band based between Santiago, Chile, and Boston, MA, fusing the rich musical heritage of Latin America with the complexity and aggression of technical death metal. Founded by Agustín Lobo and Matías Bahamondes, the band solidified its lineup with Yoav Ruiz-Feingold (Atheist, Graviton) on vocals and Matías Salas on bass. Fused with Chilean rhythms, folk-inspired guitars, and memorable riffs, it features guest appearances by MAX PHELPS (CYNIC, DEATH TO ALL), ENRICO H. DI LORENZO (HIDEOUS DIVINITY), and SHANTANU VYAS (HAZING OVER). With virtuosic musicianship and a raw, organic sound that recalls the primal spirit of classic metal, Overtoun channels both precision and rage. Produced by renowned Argentinian producer MARTIN FURIA (DESTRUCTION, BARK) and released via Time To Kill Records, Overtoun asserts itself as one of the most exciting and promising Latin American Metal acts today.

Jaime Fennelly, as Mind Over Mirrors, makes music that pushes the known to the lip of the unknown, where it rocks precariously and in exhilaration. He scrambles the familiar and tweaks the comfortable, not through aggression, but a throbbing estrangement. When placed at a distance, these require longer reaches to grasp. The reward for this effort is an enlarged field of perspective, experience, and also of feeling. This is deeply feeling music to feel deeply.

In all of Jaime’s records—and, arguably, especially in Particles, Peds, & Pores—there’s a seed of the pastoral, some ancient shepherd’s song ringing through nearby hills and groves, but one also yearning to plumb the uncanny and the creative possibilities of disintegration. “Farewell to woods,” the grieving Damon sings in Virgil’s eighth Eclogue. “Let all be ocean now.” Fennelly sounds vast, enveloping wildernesses and the thrilling disquiet of their echoless grandeur. (Maybe Burroughs speaks to the borders of these zones: “Pulsing mineral silence as word dust falls from demagnetized patterns.”) There’s something of the heroic at work here, too, although the hero’s instinct has been suitably tempered—or awed—to know not to fly too close to the sun.

Me Saco Un Ojo Records proudly presents the debut EP of Croatian death-doom maniacs Decrepit Altar.
Gloomy guitars greet you with a charnel atmosphere, eerily descending into the graves. This subsides to showcase putrescent riffing and gargantuan drums with a monolithic heaviness, the perfect recipe for fetid death-doom excellence. Morbidly snarled vocals reverberate into the abyss with the spectral instruments perfectly enshrouding their malignant presence.
Combining crushing heaviness with savage and creeping aggression, these three tracks lurk in shadowy cemeteries awaiting your arrival only to punish you with their flagellating horrors. From the warping progressions to the primal bludgeoning force, it will not take long for you to feel this band means business with their first release.
Each sinuous and stringy tendril of terror flows organically from the last, presenting darkness and evil with a veritably claustrophobic and tense sound. Churning malice and groove in equal measure, their vile concoction of festering offal is something pungent and addictive that keeps you coming back for more.
All three of these twisted offerings give something of their own with a personality and character while fitting together to forge a trinity of depraved darkness that doomed death metal fans will certainly cherish. Prepare for egregious defilement…

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

It's taken over two decades, but at last, the wait is over: Sevan Mater has unleashed the first- ever vinyl pressing of Live Damage , the iconic live performance by DARK TRANQUILLITY, captured during their "Damage Done" era. Pressed on Gold and Black swirl vinyl, limited to just 500 copies, and housed in a stunning gatefold cover, this reissue is nothing short of melodic death metal heaven. Originally released in 2003 as a DVD, Live Damage immortalized one of DT 's most intense and electric live shows - recorded in Krakow, Poland. Now, for the first time ever, that raw energy, that iconic Swedish aggression, and that perfectly balanced blend of melody and brutality has been etched into vinyl grooves for audiophiles and collectors alike. From the soaring leads of The Treason Wall to the punishing drive of Final Resistance, every track explodes with clarity and presence on wax.

The vinyl mastering brings new warmth and immediacy to the performance, giving fans the closest thing to being there, without the sweat and flying beer. And the packaging? Absolutely elite. Sevan Mater delivers a luxurious gatefold, featuring rare tour photos, liner notes, and an aesthetic drenched in cold, melancholic elegance. If you're a fan of At The Gates, In Flames, or if Damage Done was the soundtrack to your early 2000s fury, this release is a must-own. More than just a live album - it's a time capsule of melodic death metal at its peak.

KREATOR’s Krushers Of The World is a ferocious return that finds the band at full strength, blending classic thrash fury with fresh intensity and purpose. From the relentless opener “Seven Serpents” to the darkly melodic “Tränenpalast” featuring Britta Görtz, the album shows a band unafraid to evolve while staying true to their roots. Tracks like “Barbarian” and “Psychotic Imperator” hit with unrelenting speed, while the title track and “Satanic Anarchy” deliver crushing groove and anthemic hooks. Backed by Jens Bogren’s massive production and Zbigniew Bielak’s striking artwork, Krushers of the World proves KREATOR aren’t just surviving — they’re still leading. Fueled by the reflective fire of their Hate & Hope film and Mille Petrozza’s sharpened vision, this is a statement album: heavy, focused, and unstoppable.

Neu auf Impulse! Records: Die Musik des experimentellen Jazz-Punk-Trios The Messthetics aus Washington DC, bestehend aus ehemaligen Mitgliedern der Punk-Band Fugazi (Bassist Joe Lally, Schlagzeuger Brendan Canty) und dem Gitarristen Anthony Pirog, wurde bereits mit dem ungewöhnlichen Genre-Label „Jazz-Punk-Jam“ versehen. Auf ihrem ersten Album für das ikonische Impulse!-Label haben die drei sich jetzt mit Jazz-Saxofonist, Komponist und Bandleader James Brandon Lewis zusammengetan. Gemeinsam erweitern The Messthetics und James Brandon Lewis jetzt die Grenzen instrumentaler Musik durch ungewöhnliche Überschneidungen von Jazz, Punk und Funk, Aggression und Innovation.

"Guerra Total Na Boca Do Lixo" is CAVEIRAS' new album, to be released on February 13, 2026. The album will include 12 brand new tracks, displaying the usual mix of punk aggression, batucada rhythms, industrial / noise bravado and bass music.

---------------------

CAVEIRAS deal in obsessive rhythms and low frequencies, infusing punk with Afro-Brazilian vibes. Their spiritual birth can be traced back to a visit to Favela Rocinha: while watching two young boys improvise a batucada with a bucket and a bin, band members became obsessed with the possibility of an occult alliance between Rio de Janeiro and Einstürzende Neubauten’s Berlin. Back home, Caveiras made a blood oath, vowing to channel the dark side of samba. Armed with an electric bass, scrap percussions and a machine-gunning sampler, they began to butcher Brazilian standards with a wild and iconoclastic attitude. Claves and rhythms of the Brazilian tradition are heavily treated through electro-acoustic techniques, dub-oriented bass lines strip melody down to the bone, while screams cross the line separating punk’s rants from Quimbanda’s curses.

ONLY are a screamo / post-hardcore band based in Berlin, Germany. Their music reflects the diverse cultural and musical backgrounds of the members, who hail from Venezuela, Scotland, and Italy.
Only’s sound is rooted in early 2000s screamo but draws from a wide spectrum of hardcore, straddling the lines between catharsis, aggression, melody, and dissonance.
They’ve become an active part of Berlin’s thriving screamo scene and a growing community of bands across Europe.

With Laser Cut, Berlin duo BAUGRUPPE90 opens a new chapter - not just musically, but structurally. It's the debut release on their self-built imprint, MONTAGE, and it sounds exactly like that: raw materials, tightly assembled, no unnecessary ornamentation.

Across four tracks, the duo approaches rhythm with the mindset of architects working with form - intentional, pressurised, and precise. The opener, Laser Cut, slices through the mix with minimalist aggression. Torque Motion grinds forward with mechanical force, while Ground Lift burrows deep into sub-frequency foundations. The closer, Boss (Hard Mix), drops like a slab of reinforced concrete-dense, heavy, and unyielding.

This is club music stripped to its essentials: functional, grounded, and precise. With Laser Cut, BAUGRUPPE90 constructs sonic architecture.

ROTTEN, FOUL, DERANGED!

Around the end of the 1980s and the first years of the 1990s bands like PUNGENT STENCH, DISHARMONIC ORCHESTRA, DISASTROUS MURMUR or MIASMA made a name for themselves by putting out some classic albums. "Been Caught Buttering", "Changes" or "Expositionsprophylaxe" were records spawned by Austrian hordes which were globally hailed by devotees of Death Metal. As fertile a soil Austria once seemed to be, throughout the last 30 years not one single Death Metal album was put out that would match the quality of the pioneers.

Apparently, it took Brenton, an Australian settling in Vienna, to eventually put Austria on the map again. After having founded FESSUS with 3 other members in 2023, the quartet put out their first demo "Pilgrims of Morbidity" in the same year.

Now, two years after the very promising demo, FESSUS return with their first full-length. Cryptically entitled "Subcutaneous Tomb" the album's six lengthy songs stylistically continue where the demo left off. Whereas other bands focus on hyper-speed, over-technicality and brutality, FESSUS' brand of Death Metal is mostly played in moderate tempi with outbursts of speed and aggression scattered throughout the album. The songs are foremost characterized by memorable compositions and groove. Every song literally oozes with morbidity and conjures a dense macabre atmosphere. Brenton's vocals which are partly reminiscent of NECROPHAGIA's Killjoy are one of the highlights of the album. With his performance being equal parts versatile and deranged, Brenton spews vile bile and brimstone like not many lunatics before him. Although there are hints of other bands like AUTOPSY or PURTENANCE found on the album, FESSUS actually managed to come up with a sound that’s distinctly their own.

"Subcutaneous Tomb" is a perfectly produced album that those worshipping at the altar of morbid, rotten Death Metal can't afford to miss out on.

Recording, mixing, mastering: Thomas Taube (Five Lakes Studio)

It's taken over two decades, but at last, the wait is over: Sevan Mater has unleashed the first- ever vinyl pressing of Live Damage , the iconic live performance by DARK TRANQUILLITY, captured during their "Damage Done" era. Pressed on Gold and Black swirl vinyl, limited to just 500 copies, and housed in a stunning gatefold cover, this reissue is nothing short of melodic death metal heaven. Originally released in 2003 as a DVD, Live Damage immortalized one of DT 's most intense and electric live shows - recorded in Krakow, Poland. Now, for the first time ever, that raw energy, that iconic Swedish aggression, and that perfectly balanced blend of melody and brutality has been etched into vinyl grooves for audiophiles and collectors alike. From the soaring leads of The Treason Wall to the punishing drive of Final Resistance, every track explodes with clarity and presence on wax.

The vinyl mastering brings new warmth and immediacy to the performance, giving fans the closest thing to being there, without the sweat and flying beer. And the packaging? Absolutely elite. Sevan Mater delivers a luxurious gatefold, featuring rare tour photos, liner notes, and an aesthetic drenched in cold, melancholic elegance. If you're a fan of At The Gates, In Flames, or if Damage Done was the soundtrack to your early 2000s fury, this release is a must-own. More than just a live album - it's a time capsule of melodic death metal at its peak.

Centinex, die schwedischen Death-Metal-Legenden, melden sich ihrem bisher wildesten und kompromisslosesten Werk zurück. 'With Guts And Glory' ist ein rohes,
energiegeladenes Album, das auf Überflüssiges verzichtet und sich auf das Wesentliche konzentriert: unerbittliche Riffs, D-Beats und thrashige Aggression.
Klingt wie Demonical, Goatwhore, Entombed AD, Dismember, Lik, Entrails, Vomitory oder Unleashed!

Centinex, die schwedischen Death-Metal-Legenden, melden sich ihrem bisher wildesten und kompromisslosesten Werk zurück. 'With Guts And Glory' ist ein rohes,
energiegeladenes Album, das auf Überflüssiges verzichtet und sich auf das Wesentliche konzentriert: unerbittliche Riffs, D-Beats und thrashige Aggression.
Klingt wie Demonical, Goatwhore, Entombed AD, Dismember, Lik, Entrails, Vomitory oder Unleashed!