Search:grave

M Parent's penchant for texture is laid bare on this searing and arresting new EP for Zement. It opens with 'Gravel Pit' which sounds like an audio diary from a car-wrecking plant. Twisted metal, fizzing battery acid, and crushed glass all feature over a distorted baseline and broken rhythm. Those same scuzzy sounds define the rest of the EP from the acid-laced 'Ideal Future' to the coruscated funk of 'Acid Thirst' via the caustic intensity of closer Climb These Walls'. An impressively unique offering that very much has its own singularly sound palette.

Der Soundtrack zu John Wick Charter 4 von Tyler Bates & Joel J Richard in limitierter Auflage auf Transparent Orange Vinyl als Doppel-LP!

Der offizielle Soundtrack zu John Wick 4 mit den bekannten Songs: Nowhere to Run - Lola Colette, I Would Die for You - In This Moment, Marie Douceur, Marie Colère-Manon Hollander & Eye For an Eye-Rina Sawayama. In limitierter Auflage als Doppel-LP auf Transparent Orange Vinyl.

- Ltd. Col. 2LP: (Transparent Orange Vinyl)

Obwohl es erst ein Jahrzehnt später offiziell veröffentlicht wurde, stellten sich TORMENTOR mit "Seventh Day of Doom" bereits 1987 vor. Angeführt vom legendären Sänger Attila Csihar klang die ungarische Bande böser und verdorbener als der primitive Heavy Metal, der in den späten 80ern und frühen 90ern aus Osteuropa kam. Sie sollten zwar noch böser klingen, aber auf dieser Aufnahme kann man bereits hören, warum diese Band von der zweiten Welle des Black Metal überschwänglich gelobt wurde.Die Riffs dröhnen, das Schlagzeug ist so schnell wie eine Lokomotive, die durch die Tore der Hölle rast, und Attila klingt, als würde er heiße Galle spucken.

Dalmata Daniel welcomes Filmmaker and Petros Spatharos for the eighth part of their split series. This obscure 3-3 track vinyl is the debut of the Columbian music maker on the label. However, for the Athens-based producer it's a return after his participation on "Dalmata Daniel eats Lahmacun" compilation. But this project isn't their first collaboration, because Petros released his first album on Body Musick, Filmmaker's own imprint.

Filmmaker probably doesn't really need to be introduced to those who are comfortable with contemporary underground music. In less than five years he has composed and released a huge and relevant oeuvre by himself or on labels such as the UK-based Opal Tapes, Dutch Tartarus, Greek Phormix or the German Veyl, etc. To add Dalmata Daniel to this list is kind of a dream come true for the label, because they have been following his musical journey since the beginning. And no doubt, his side of the vinyl is another testament to his already perfected sound. What you recognise from the first moment of this noisy, industrial, sometimes dissonant ebm driven electro, infused with a film noir atmosphere and total darkness.

While on the flip side, Petros Spatharos keeps the obscurity going, which is the real link with his split partner's music. Only his sound is clean, not chaotic, but rather underworld techno with an extremely restrained tempo and some beyond-the-grave acid screams. That's how this inferno journey will be complete with full of dark emotional atmospheres and hypnotic textures.

Die jungen Wilden des Old School Death Metal!
Die Death Metaller PLAGUEMACE sind bereit, ihr Debütalbum Reptilian Warlords am 17. November
2023 via Napalm Records auf die Menschheit loszulassen! Die Old School Death Metal Band wurde 2019
in Dänemark gegründet und veröffentlichte im November 2020 ihre erste EP Primal Priest mit sechs markerschütternden Tracks. Die erbarmungslose Energie und die dreckigen Riffs der Newcomer entfesseln auf
der Bühne einem brutalen Wirbel aus Gitarren-Schreddern, Headbanging und dem puren Wahnsinn. Bereits
im ersten Jahr ihrer jungen Karriere haben PLAGUEMACE bereits 25 Konzerte absolviert, darunter mehrere
Headliner Shows sowie Support Slots für Bands wie Baest, Katla und Crocell. Bisheriges Highlight war die
UK-Tour im Frühjahr 2023 als Support für ihre Labelkolleginnen Nervosa.
Es besteht kein Zweifel daran, dass Fans von Bands wie Grave, High on Fire, Entombed und Obituary
das erste Studioalbum einer der vielversprechendsten Bands der neuen Generation des Old School Death
Metal ihre blanke Freude finden werden und mit einer frischen Brise an brutalem Sound versorgt werden!

A new 2023 pressing of LOWRIDERS's comeback album Refractions comes in merged bone-magenta coloured vinyl! EU festival dates in 2023 announced! The progenitors of Swedish desert-rock return with their astonishing new record of fuzz-heavy stoner rock bliss! The new album from the progenitors of the Swedish desert rock scene, Lowrider's previous album is a milestone in the global stoner rock underground, soundalikes to Kyuss or Fu Man-Chu, Lowrider manage to add impressive songwriting qualities to their works. Before Monolord, Graveyard, Greenleaf, and Truckfighters, one band stood at the dawn of Sweden's Kyuss-inspired desert rock movement. With their groundbreaking debut EP and seminal "Ode to Io" album, LOWRIDER spawned thousands of imitators. Now, at long last, the progenitors return with blistering new album "Refractions," delivering on their mythic status as founders of a worldwide phenomenon. 'Lowrider's 'Ode to Io' is an absolute landmark. It is essential. Quite possibly the best desert-style rock record not to come from the actual Californian desert.' _ JJ Koczan / The Obelisk 'Thunderous riff-rides like 'Caravan' and 'Saguaro' cannot be denied, and quite honestly leave a much more lasting impression than most anything issued by the likes of Nebula and even Fu Manchu.' _ Ed Rivadavia / All Music Guide 'Ode to Io is desert-rock in its purest and heaviest form. Almost the whole album is indeed explosive, fuzzy and straight to the point... the best definition of stoner-rock you could get.' _ Nuno / Sputnik Music Lowrider paved the way for a whole generation of European fuzz rockers... there was Kyuss in the US, and there was Lowrider here.' _ Beeho / The Heavy Chronicles

Die Melodic-Power-Metal-Band Signum Regis ist mit ihrem beeindruckenden neuen Album „Undivided“ zurück!

Produziert, gemischt und gemastert wurde das Album von Jacob Hansen (Volbeat, Kamelot, Evergrey) und das epische Artwork stammt von Uwe Jarling (Grave Digger, Mystic Prophecy).

Das Songwriting auf „Undivided“ ist wirklich stark und die Songs, die auf dem Album landeten, wurden von vielen ausgewählt. Auf dem Album finden Sie schnelle Power-MetalSongs, epische Heavy-Metal-Songs, jede Menge eingängige Melodien, neoklassische Einflüsse und mitreißende Texte.

Während des gesamten Albums hört man die starke Musikalität, für die Signum Regis bekannt ist, gekrönt von der hervorragenden Gesangsdarbietung von Jota Fortinho!

Verpassen Sie nicht „Undivided“, ein beeindruckendes, mitreißendes Power-Metal-Album, das perfekt für Fans von melodischem Power- und Heavy-Metal und Bands wie Helloween, Stratovarius und Theocracy sein dürfte!

Born in Roma in 1959, Guiseppe “Peps” Cotumaccio arrived in South Africa when he was two years old. He was the mastermind behind the band “Sweet Reaction”, singing and playing keyboards.

In the early 80’s, the group used to back various artists including one of the South African top singer “Neville Nash”. Both artists were on the same record label: Music Team. Throughout his lengthy career, Peps has collaborated with Johnny Clegg, Ronnie Joyce, Sipho "Hotstix" Mabuse, P.J. Powers, Mark Alex, Neville Nash, and Mara Louw just to name a few.

The lead singer of the band, Dion Williamson, started performing in Johannesburg’s nightclubs and got quickly very successful, always in demand! People loved his gravel and sensual voice as he used to sing some of Joe Cocker’s popular songs. Unfortunately, during the Apartheid, the South African Government were not allowing black and white audiences, and the band split.

On this BIG5 Boogie#2, Enoch Ndlela produced 2 Modern Soul killer tracks.
Recorded in 1981, "Take it easy", where the music is evidently influenced by Willie Hutch (Easy does it - 1978) offers Dion a way to fully explain himself doing his own version of the tune. And what an explosive result!

On the same side of this 12”, our 2 Frenchies in Cape Town aka Simbad & Fred Spider enjoyed delivering us a fat broken beat version of the track, while the very “En Vogue” Aroop Roy from London turned it into a funky house summer hit.
Side B starts with a superb composition from the band: “African Sunrise” where Dion Williamson is on top, this tune is a bomb!
To finish this E.P, the well-known Kid Fonque from Johannesburg, who freshly moved to London working for the glorious house record label Defected, couldn’t wait to produce a super groove deep house refix. The result is a second essential dancefloor release from Voom Voom Records!

180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing

In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.

His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.

1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.

AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).

Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.

After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.

His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.

By the early '70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple-night runs like a legendary Slugs' residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings.

In March 1976, Verna Gillis invited Graves to perform on WBAI's Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing – featuring two saxophonists who were dedicated to the drummer's vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts.

Originally released in 1977, Bäbi remains one of Graves' most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves' new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves' art was always unblemished by commercial interests, and this album is its finest mission statement.

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven."

Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

teen suicide's first & only proper album, `i will be my own hell because there is a devil inside my body', has been a sought after release for many collectors after it's ultra-limited vinyl release in 2012. Now, Run For Cover Records will be reissuing my own hell, with remastered audio, expanded artwork and 8 never-before-issued bonus tracks. Across the album's 10 songs, the band displays a knack for different sounds and styles. Intimate, keyboard driven tracks like `cop graveyard' and `grim reaper' sit beside more energetic full-band outings like `dead bird skeleton and `give me back to the sky', the latter even adding an evocative viola, piano and choral arrangement to it's chaotic center. It's to the band's credit that their more outré moments feel necessary, not distracting. What becomes clear upon listening to `my own hell' is that beneath the dreamy haze & noisy apathy of teen suicide's recordings exist ernest, extremely well-written pop songs that reflect and express the uncertainty and desperation of reality

Omnivore Recordings Reaching For The Stars:Trios/Duos/Solos mit elf weiteren, bisher unveröffentlichten Aufnahmen.

In den Trios spielen Henry Grimes (Thelonious Monk, McCoy Tyner, Sonny Rollins) und Kalil Madi (Freddie McCoy, Mongo Santamaria - sowie Hasaan's Metaphysics) sechs Titel ein (vier davon erschienen in ihren Studio-Versionen auf The Max Roach Trio Featuring The Legendary Hasaan).

Hinzu kommen drei Songs mit der Sängerin Muriel Gilliam, alias Muriel Winston, und zwei Solo-Porträts des Meisterpianisten. Produziert von der Grammy®-prämierten Produzentin Cheryl Pawelski und dem ASCAP-prämierten Autor Alan Sukoenig, enthält Reaching For The Stars ein neues Essay von Pianist, Komponist und Autor Ethan Iverson. Wie bei den früheren Veröffentlichungen von Omnivore Hasaan Ibn Ali wurde auch diese Sammlung sorgfältig restauriert und von dem mit dem Grammy® ausgezeichneten Toningenieur Michael Graves gemastert.

Diese Sammlung ist ein weiterer Einblick in die bisher ungehörten Aufnahmen von Hasaan Ibn Ali, dessen verschollene Aufnahmen beweisen, dass er nach den Sternen griff und sie alle berührte.

Neues Konzept-Album der einzigen "Winterdoom"-Band Deutschlands! Die Würzburger, die ursprünglich 2014 als Nebenprojekt der einzigartigen Instrumentalband OMEGA MASSIF gegründet worden waren, ballern uns einen fiesen und massiven dunklen Brocken um die Ohren: Black- und Postmetal vermischen sich mit Sludge, Ambient und Post-Punk auf hohem Niveau, ich wäre tatsächlich überrascht, wenn die Band nicht beim Roadburn 2024 aufschlagen würde, da gehört sie nämlich hin. Grundsätzlich melancholisch und episch, unterlegt von maschinenhaftem Stakkato-Drumming, düster, kalt und wütend. Für die 6 schleppend-schleifenden Songs muss man sich Zeit nehmen, das ausgezeichnete Songwriting entfaltet sich Schicht für Schicht zu einem Albtraum-Szenario, das stetig zu lauern scheint, angriffslustig geduckt und im Schatten. Der Kontrast zwischen sanft-melodischen E-Bow Leads und Klargesang bzw. auch Sprechgesang auf der einen Seite zu präzise drückendem Riffing, Sprachsamples und viehischem Gegrowle auf der anderen Seite verstärkt nur noch das Unwohlsein beim Hören. Insgesamt merkt man den Songs deutlich an, wieviel Mühe darin steckt, es gibt sehr viele Details zu entdecken und zu den Texten, also der Story bin ich noch gar nicht vorgedrungen: Inhaltlich orientiert sich die Platte am Romanzyklus "His Dark Materials" von Philip Pullman, was den Eindruck eines Soundtracks durch den Einsatz von Sprechtexten bzw -samples (teils englisch, teils deutsch) noch verstärkt.

It is time to succumb to the sounds of the Magic Wand label once more and this eighth sonic spell is another one that will leave you happily helpless. It finds the Coyote lads step away from their fine work on Is It Balearic? to cook up two top edits. First up they offer 'Lonely' - a broody, steamy and shimmering tropical Balearic workout and then comes the organic and lazy drums of 'Western Revolution' with an iconic gravelly vocal from Gil Scott Heron. There are folk-tinged Americana sounds on 'Love Home' and laid-back disco licks on the seductive 'Luca' to make this a summer party essential.

Nach ihrer äußerst erfolgreichen Sommertournee kehren BUSH im Herbst mit Loaded: The Greatest Hits 1994-2023 zurück.

Mit über 20 Millionen verkauften Tonträgern, 1 Milliarde Streams und einer Reihe von Nr. 1-Hits ist die GRAMMY®-nominierte, mehrfach mit Platin ausgezeichnete Band ein Ausnahmetalent der Rockmusik, dessen Einfluss mit den Jahren immer größer wird. Loaded bietet einen umfassenden Überblick über das unglaubliche Vermächtnis der Band mit 21 Tracks, die fast 30 Jahre umfassen.

Loaded enthält ikonische Hits von jedem der neun Studioalben der Band sowie ”Mouth” (The Stingray Mix) vom Remix-Album Deconstructed aus dem Jahr 1997 und eine Coverversion von ”Come Together” von den Beatles, die 2012 in einer sehr begrenzten Auflage erschien.

Ab dem 10.11.2023 als 2LP und 2 CD verfügbar

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

Back in print - on white vinyl - for the first time since 2003, ‘The New Romance’ by Pretty Girls Make Graves, is the latest instalment of Matador’s ongoing catalogue series Revisionist History.  Pretty Girls Make Graves formed in Seattle in 2001, fused together out of the still glowing embers of nearly a dozen important groups. Andrea Zollo and Derek Fudesco had played together in Death Wish Kids and Area 51 along with Dann Gallucci, with whom Derek formed Murder City Devils. Shortly before the Murder City Devils called it quits, he and Andrea started Pretty Girls Make Graves with J. Clark (who was in Kill Sadie and Sharks Keep Moving) and Nick Dewitt and Nathan Thelen (both in Bee Hive Vaults).  Brilliantly produced by Phil Ek (Modest Mouse, Built To Spill, Les Savy Fav), ‘The New Romance’ magnifies Pretty Girls Make Graves’ songcraft and technical prowess while letting some air into their songs and keeping things in crisp focus. Every song on ‘The New Romance’ is an anthem, yet without traditional verses and choruses. Tension builds and shifts without conventional release, as moments of glassy beauty and rousing aggression trade sides.  White vinyl LP.

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

In den letzten zehn Jahren haben CARNATION das Revival des Death Metal der alten Schule angeführt. Sie haben seelenerschütternde Riffs und trampelnde Blastbeats mit einigen der bedrohlichsten Growls der neuen Welle zurückgebracht. Während die belgische Band die altehrwürdigen Traditionen des Genres immer hochgehalten hat, klingt sie auch nie veraltet, sondern dringt mit "Cursed Mortality" in tiefere, dunklere und experimentellere Gewässer vor. Der Titeltrack watet in bedrohlichen Synthie-Klängen und sogar cleanen Vocals. Dieses Album ist nicht einfach ein Revival - Es ist ein mutiger Schritt in die Zukunft. Für Fans von (frühen) ENTOMBED, BLOODBATH, GATECREEPER, SKELETAL REMAINS, GRAVE.

In den letzten zehn Jahren haben CARNATION das Revival des Death Metal der alten Schule angeführt. Sie haben seelenerschütternde Riffs und trampelnde Blastbeats mit einigen der bedrohlichsten Growls der neuen Welle zurückgebracht. Während die belgische Band die altehrwürdigen Traditionen des Genres immer hochgehalten hat, klingt sie auch nie veraltet, sondern dringt mit "Cursed Mortality" in tiefere, dunklere und experimentellere Gewässer vor. Der Titeltrack watet in bedrohlichen Synthie-Klängen und sogar cleanen Vocals. Dieses Album ist nicht einfach ein Revival - Es ist ein mutiger Schritt in die Zukunft. Für Fans von (frühen) ENTOMBED, BLOODBATH, GATECREEPER, SKELETAL REMAINS, GRAVE.

In this accompanying remix set, "Earth 2.23: Special Lower Frequency Mix", the Bug has taken a bit of "Seven Angels" and laced it with feedback and big bass, allowing grime luminary Flowdan to climb atop it with his dark, staccato visions. Responsible for many transformational records himself, Justin K. Broadrick of Jesu and Godflesh crawls inside "Teeth" to lash at it with punishing drum machines and sordid layers of new distortion, building it into some brokedown palace of industrial mayhem. Loop's Robert Hampson makes good on the premise of ambient metal with his 30-minute hypnotic beauty, while longtime Earth cohort and longtime Built to Spill multi-instrumentalist Brett Netson seems to float the sound through a benighted graveyard on his clever "Teeth" revamp. These are not obvious directions for Earth's impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don't even know there are horses on the cover. VERY limited indies only LOSER copies pressed on lovely CURACAO BLUE vinyl!

Repress of the sold out Record Store Day release, this time on a different colour. Black Spiders – Those trusted and true sons of the north are back. “We knew the new album had to be special. We’ve been away for a while. The first album was a straight shot, the second on the rocks, with this new one we had to kick down the brewery doors!” Pete Spiby. Back in June of 2017, Sheffield rock beasts Black Spiders waved goodbye to an army of loyal fans with some sonically charged shows before retreating into the shadows. And then, in November of last year, with the world in the grips of the Coronavirus pandemic and after a long year of very little fun from out of the silhouettes they returned with ‘Fly In The Soup’, the first new Black Spiders music in 6 years. Exactly the feel-good shot in the arm the world needed, while we await that other vaccine. The seeds of the Black Spider return were actually planted last summer, when singer and guitarist Pete Spiby began taking to guitarist Ozzy Lister to start writing new material and before they knew it, they had amassed the best part of 40 songs in a very short period of time which they whittled down. And then the pandemic hit. “It’s certainly been a strange process, in unfamiliar territory,” explains Pete. “We started to look at how we could do it given the restrictions and not only that, but we had to replace our original drummer too. For us and probably most other bands, we would usually take a riff or song idea to a rehearsal and thrash it out ‘till we either had something or it ended up in the song graveyard! This time around we couldn’t do that, so myself, Ozzy and on occasion Adam Irwin (bass player) started to send ideas back and forth until we had something to work with in GarageBand. We got to a point where we had enough song ideas with basic structure to go into a studio. It was at this point when we had to look for a new drummer.” With former drummer ‘Tiger’ Si Atkinson unavailable to play, with a week or two of grooming, the band took a chance on Planet Rock DJ Wyatt Wendel to occupy the drum stool. “I've never joined or worked with a band in this way EVER,” laughs Wyatt. “2020 certainly made it surreal. “A Pete/Ozzy writing session at the beginning of the year had produced some promising results, but it felt like barriers were popping up everywhere,” explains bassist Adam Irwin. “We started talking about how we could use technology such as GarageBand to help, and slowly but surely the song writing gathered pace. It was time to hook up with our old producer Matt Elliss and try these new songs out in the studio. “Heading into the studio to record songs we’d written but never played together, with a drummer that we’d never met, is one of the stranger experiences I’ve had while being in a band. Thankfully, Wyatt has turned out to be an excellent addition, who despite his faults (loud, southern) has fit right into the band dynamic. Covid has made life really tough for so many of us in our industry. And yet, this new way of song writing has been liberating, this is the most consistent and prolific we’ve ever been, and I am immensely proud of this album.” Against all of the odds, Black Spiders have crafted an album that features 13 tracks of high-energy, feel-good rock n’roll contrasted by demonic doom that despite the disjointed, isolated way it was recorded. It sounds like a band, firing on all cylinders. “We had to dig down deep to pull out some gems and what would we want from Black Spiders,” questions Pete. War, vengeance, mental health, death, conservation & climate change, where are we from? Relationships, friendships, our flaws. Where are we going? Alien life and Mother Earth - some of which made the record.” Kicking off with the aforementioned ‘Fly In The Soup’ single, this 3rd ST long-player wastes no time in grabbing you by the scruff of the neck and dragging you through an album where good times, hooks and riffs are not in short supply, but the doom-drenched likes of ‘Wizard Shall Not Kill Wizard’ and the psychedelic groove of album closer ‘Crooked Black Wings’ give us an album of many moods and dynamics and a reason to be cheerful in 2021. And why does the album have no title? “It wasn’t hard picking a title for the album, as we decided that the focus should be on the band, not the album title, so we decided not to have one. Let the music do the talking....

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

40 plus years after Out of Vogue and Pay to Cum came, USA HC punk has died many deaths. Only to be brought back to life wave after wave. Perhaps only to be sold again as a cleaner version of itself. However there seem to always be a bunch of miscreats that spit on HC grave and enjoy making dirty and aggressive fast music as if their lifes were on it. NOSFERATU is one of them. What we have here is the long promised vinyl version of their last year cassette tape. On it you’ll find 11 songs of boom box sounding hardcore PUNK. Fast and raging, without an ounce of metal or cuteness on it. Think of YDI or E-13 but also WRETCHED or SYSTEMATIC DEATH. Short songs as burst of energy with an attention to detail to their craft the way only someone who has worn out their HEREJIA or ANTI-DOGMATIKSS tapes can create. In so many words, NOSFERATU sounds, in my mind, as the missing hidden track on Killed By Hardcore vol. 2. This version of Society’s Bastard comes as a double A side 12” with the same program repeating on both sides, why not? Packed in a beautiful sleeve and recorded at D4mt Labds in a whim merely a week after writing them. (Tesco Holocaust

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

This final serving is a punishingly dense and saturated wall of twee.

A cursory glance at the tracklist - NO FRIENDS, I JUST CALLED TO SAY I HATE YOU, I SHIT ON YOUR GRAVE, YOU'LL PAY - is fair warning of the brooding resentment and alienation bubbling below the sprightly melodies. And just so we're all on the same page: There is no catharsis. The magic is gone and nothing is going to get better. If 2009's WITH TRUMPETS FLARING was the coronation of Gregory Pepper, NO THANKS is his funeral march.

Gregory Pepper & His Problems have received press and praise in PopMatters, Absolute Punk, Exclaim!, FLOOD Magazine, and Brooklyn Vegan. He is a longtime Fake Four Inc. artist who is deeply embedded in the underground hip hop world and even fronted a duo with super producer Factor Chandelier called Common Grackle which has released two albums on Fake Four Inc. Gregory Pepper has collaborated with Ceschi, AWOL One, MadadaM, Noah23, and Open Mike Eagle.

Das Country Fuzz Trio The Cadillac Three haben mit ihrem unverwechselbaren Sound einen bleibenden Eindruck bei Fans auf der ganzen Welt hinterlassen. Jetzt sind die zurück mit ihrem sechsten Studio Album „The Years Go Fast“. Ihre Genre-Fusion Tracks wurzeln in Country-Storys, Rock-Grooves und psychedelischen Jams.

„The Years Go Fast“ ist ein Statement über große Veränderungen, aber auch darüber, wie Freundschaft, Liebe und Familie Anker sind, wenn alles auseinander zu fallen beginnt.

Die Arbeit von TC3 hat dem Trio eine Reihe von Auszeichnungen eingebracht, darunter Nominierungen für den GRAMMY. Das Album „The Years Go Fast“ ist in Form einer CD und einer Vinyl erhältlich.

Reissued on limited edition 180 gram Clear vinyl. On The Blackened Air (her second album but first for Touch and Go, originally released in 2002), Nina Nastasia and her band are not content to just support a vocal melody; they pry it apart and look down its throat. The stringed and wind instruments (viola, cello, mandolin, accordion, bowed saw, acoustic and electric guitars) reach up out of the songs into rarefied territory. Little stories of Peeping Toms and the police lights they bring with them, graveyards and impolite family, epigrams against disaster, depression, simple forgetfulness, all delivered so effortlessly that the precision of the delivery registers long after its substance has left its mark. When she sings "I'm not hiding anything / I'm not trying to fool you at all," in a song titled "That's All There Is," it is all the truth. A generation-plus of young troubadours pine for things they never had to lose, as if sadness and depression were inevitable consequences of being alive. Nastasia's music is an antidote to all of that. The Blackened Air is a darkish record not just in title, but by examining everything without caving in to decadence or solipsism, it is a rejuvenating experience. It is informed, without affect, unique, and succinct. Above all, it is beautiful to hear and a pleasure to have in one's home.

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.

Repress on green vinyl of GGGOLDDD's fourth album, Why Aren't You Laughing'. The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. The multi-faceted album is complex in its construction, but by enlisting producer Jaime Gomez Arellano (Paradise Lost), each element is given ample room to breathe and indeed shine. GOLD's fourth album, Why Aren't You Laughing?, produced by Jaime Gomez Arellano (Paradise Lost, Grave Pleasures). The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. Available on CD & LP. Recalling the experimentalism of Godspeed You! Black Emperor, the dark and sweet beauty of Kristin Hersh and Throwing Muses, but firmly rooted in a powerful, yet artsy rock vibe, GOLD have tapped into something truly unique.

Rediscover all his first great songs that made the legend of the American songwriter on a nice picture disc vinyl. Including : "Talkin" New York", "Song to Woody"...

High Roller Records, 180g double black vinyl, ltd 750, insert, 2 x A5 photo card, double-sided poster, 425gsm heavy cardboard cover with 6mm spine, black vinyl bonus LP incl. complete 10 track "Supernatural Death" demo in cardboard inner sleeve,Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

In the spring of 2011, MGMT was approached by the Solomon R. Guggenheim Museum in New York to create a wholly unique live music experience in conjunction with the Maurizio Cattelan retrospective All, which opened that autumn. The group performed the original music at the Nov. 10, 2011 private opening, and again the following night for the public debut. Titled 11- 11-11 in honor of that date, the music will finally be released on all streaming platforms on 11- 11-22, the 11th anniversary of the hour-long, one-off concerts.

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.