quête:metal master

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

SUMMER OF SEVENTEEN are MONIKA KHOT (NORDRA, ZEN MOTHER), WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA (MAMIFFER), and AARON TURNER. (SUMAC, SPLIT CRANIUM).

Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, MONIKA KHOT, WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA, and AARON TURNER had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer RANDALL DUNN. There they cut eight songs that capture the makeshift band's feelings of what COLOCCIA calls "a kind of doomsday lurking in the background." It's as if these highly attuned players had a premonition.

"Summer Of Seventeen" -which was edited and arranged by MONIKA KHOT, who records apocalyptic music solo as NORDRA and plays in the avant-rock band ZEN MOTHER—is a nuanced admixture of these musicians' sounds and a culmination of all of their previous collaborations. COLOCCIA and TURNER have created eldritch folk and chamber rock for over a decade in MAMIFFER while engaging in various solo and group projects that explore their profound spirituality in sound. MENCHE has been a fixture on the abstract composition scene for 31 years and COLLINS is a savvy explorer of drone and ambient forms. Their ephemeral summit meeting has yielded a masterwork for the ages.

A heaven/hell and beauty/beastliness dichotomy pervades the album—as if a titanic struggle was transpiring in that small studio. The fearsome trumpet fanfare that starts "Chorus Of The Innocents" heralds a baleful fate. With a subliminal industrial rhythm bristling beneath the eerie exhalations, the song submerges us in a slow-motion maelstrom, a horror-film facsimile of MILES DAVIS' "Bitches Brew". "Perceived Slight" threads death-metal screams through a stark, suspenseful atmosphere, with austere glints of guitar and beats like fists on a casket lid intensifying the dread.

Angelic chants and celestial drones perfume the air in several of the songs on "Summer Of Seventeen", countered with muted blast beats, serrated hums, jagged glitches, simulacra of grinding gears and lightning. It's as if no good deed goes unpunished. "Spirits Of Redeemer" could be an elegy for the human race while "Cultural Orphan" sounds like a symphony for a malfunctioning factory. The album ends with "Theatre Needs An Audience," a harrowing ballad somewhere between EINSTÜRZENDE NEUBAUTEN and MERZBOW; it's a savage rent in the space-time continuum.

"Thinking about this record now," COLOCCIA recalls, "it seems like we were all sort of anticipating something like this current pandemic happening, although we were thinking about it as fire in the hands of man (literal fire, and also gunfire) that would overturn the normal running of things and reveal the current false beliefs systems holding up most of America."

That grave aura infiltrates "Summer Of Seventeen", However, a hopefulness bubbles beneath the foreboding architecture of sound and noise summoned here. The bunker is the new penthouse.

-Dave Segal, April 2020

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.

Etheric Body Music is Photonz's debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that 'aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.' There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.

Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album 'Spiritual" for Dark Entries in 2014 as well as the Third Skin' EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.State of Mind' is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk, of electro-punk projects Walkman Music and 77TM, on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, 'State of Mind refers to the subconscious as dominated by real facts, natural, unnatural ,metaphysical or virtual and dynamism of the body as physical shield.' The track is a slow building foray into techno, elegantly suited for intangible moments. 'Golden Tears' kicks off with Cute Heels' signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus's synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.' - Ólafur Arnalds

The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.' - Janus Rasmussen

Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins. Third Skin' is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. Third Skin' kicks things in a metallic EBM funk with a pounding bottom end. Lipstick Information' takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Tar Hallow label boss Thanos Hana brings his hardware-heavy industrial grit to the Dolly TS series with 'Sliced Glitter, No Shampoo'. This four-track EP strips techno to its rusted core, fusing obsessive machine-funk with the energy of the Rotterdam sound. Driven by hammering rhythms and metallic synthesis, these 4 tracks are a masterclass in raw techno-realness!

The legendary Christian metal pioneers Stryper return with a commanding new chapter in their storied career: Throne Of Thorns, set for release this September via Frontiers Records. Decades into their journey, Stryper continue to reaffirm their status as one of the most influential and enduring bands in classic metal, seamlessly blending their signature message with a sound that remains as powerful and relevant as ever. Throne Of Thorns showcases the band at the height of their creative powers, delivering a masterclass in songwriting and musicianship. The album is packed with grand, meticulously crafted arrangements, where thunderous rhythms, soaring guitar harmonies, and anthemic choruses come together in a style that is unmistakably Stryper. Each track is infused with both intensity and melody, capturing the essence of classic metal while pushing their sound forward with renewed energy and purpose. At the forefront stands the unmistakable voice of Michael Sweet, whose passionate, powerful, and instantly recognizable delivery continues to define the band’s identity. His vocal performance on Throne Of Thorns is nothing short of extraordinary, effortlessly moving between soaring highs and emotive depth, adding a timeless quality to every song. With Throne Of Thorns, Stryper not only honor their legacy but expand upon it, offering an album that will resonate with longtime fans and newcomers alike. It’s a bold, inspired statement from a band that refuses to stand still—proof that true metal greatness only grows stronger with time.

The legendary Christian metal pioneers Stryper return with a commanding new chapter in their storied career: Throne Of Thorns, set for release this September via Frontiers Records. Decades into their journey, Stryper continue to reaffirm their status as one of the most influential and enduring bands in classic metal, seamlessly blending their signature message with a sound that remains as powerful and relevant as ever. Throne Of Thorns showcases the band at the height of their creative powers, delivering a masterclass in songwriting and musicianship. The album is packed with grand, meticulously crafted arrangements, where thunderous rhythms, soaring guitar harmonies, and anthemic choruses come together in a style that is unmistakably Stryper. Each track is infused with both intensity and melody, capturing the essence of classic metal while pushing their sound forward with renewed energy and purpose. At the forefront stands the unmistakable voice of Michael Sweet, whose passionate, powerful, and instantly recognizable delivery continues to define the band’s identity. His vocal performance on Throne Of Thorns is nothing short of extraordinary, effortlessly moving between soaring highs and emotive depth, adding a timeless quality to every song. With Throne Of Thorns, Stryper not only honor their legacy but expand upon it, offering an album that will resonate with longtime fans and newcomers alike. It’s a bold, inspired statement from a band that refuses to stand still—proof that true metal greatness only grows stronger with time.

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

"Echtes Nu-Metal-Erbe auf Vinyl: eigenständige 1LP auf klassischem 140g Black Vinyl – das wegweisende 2010er Album, mit dem Korn zu ihren rohen Wurzeln zurückkehrten.


Legendäre Kollaboration mit Ross Robinson: Produziert vom Ur-Mastermind des Nu-Metal (u.a. Korn-Debüt, Life Is Peachy), eingefangen in schmutziger, ungeschönter Vintage-Produktionsweise ohne Pro-Tools-Politur.


Sammlerfreundliche Ausstattung: Hochwertiges Single-Pocket-Jacket mit 4/4-farbig bedruckter Innenhülle, Inlay-Design und exklusivem Marketing-Sticker direkt auf der Folie."

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and Traditional Eastern influences into a sound unlike anything heard before. Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, "Satori" is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, "Satori" drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. Created for an international audience and revered by generations of musicians and collectors, more than fifty years after its release, "Satori" remains as one of the most influential and forward-thinking records in Japanese rock history. LP includes insert.

Petrozavodsk is a heavy drone trio based in Porto and Barcelona. They add dub, experimental and improvisational elements to a crushing, drone metal sound.
“Forest Fire” is the band’s vinyl debut, and is a more concentrated, expansive, and heavy offering following their debut tape “Winter War”.
Side A kicks off with “Forest I”, a collaboration with electronic artist Container AKA Ren Schofield (US/UK). The noise/rave veteran remixes the band’s guitars into a hot bubbling swampy mess that feels very alive, propulsive, punishing, yet fun – Container fans would know.
“Forest II” is all dubbed-out drone-rock, with blackened guitar, monotonous low thrusts, and a snare that is coming from an extremely far distance – everything echoing and shaking, dubwise almost-noise effects from the drum kit eroding in wide stereo.
Side B is one longform piece “Fire” with slow-motion guitar washes, and a bass that sounds like a high rise falling down. It nods to the genre’s touchstones (Boris’ “Amplifier Worship”, Sunn O)))) while carving its own path. A downtuned wall of heavy sound.
Recorded in Catalunya and Portugal, all amps turned up high. Mixed and mastered by Moa Pillar in London, with additional mixing on “Forest II” by the band’s guitarist Anton Vasin.
Guitar: Anton Vasin
Bass: Matvei Podgornov
Drums: Ivan Zoloto

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light. Between tours and festival appearances, the masters of devilry wrote their third full-length, Bloody Dreams. Punkier, with a psychedelic lean, yet festooned with a feral black metal aura, the album gleams from the abyss. Engineered by Davis M. Shubs and Grammy-nominated engineer Eric Bogacz, Bloody Dreams dances darkly. Tracks “You Worms' Vain Delusions” to “Death Anthem,” “Sex with Succubus,” and the decaying bonnet of “Farewell Waltz to Unfortune's Palace” lead the charge, while guests include Mirai Kawashima (Sigh), former drummer Chris Ulsh (Power Trip), and Ur Èmdr Œrvn (Arkha Sva) enhance DEVIL MASTER's supernatural power. There is no shadow without light...Bloody Dreams invites you into and out of the abyss. Short: The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light with their new album, Bloody Dreams. FFO: Venom, GISM, Celtic Frost, Midnight, Discharge, Christian Death

Previously unreleased proto-metal album by this criminally forgotten UK band. Sweaty Betty were neighbours and friends of Black Sabbath and Judas Priest, all hailing from the West Midlands region of England. The Sweatier The Bettyer, was recorded in 1974/75 and features Budgie drummer Pete Boot. Also, on vocals was future NWOBHM cult legend: Rik Staines, who went on to form Dark Star. Their debut 45: Lady of Mars is considered a classic of the genre. After several years of strenuous research, Rise Above Relics is excited to bring this long-lost jewel from the crypts of the 1970s British underground scene. Mastered and cut from the original 1/4" tapes, it is a gargantuan feast for fans of the era

Die Feder
Master Of The Skies – Limitierte Edition auf neongelbem Vinyl
Metalville | Artikelnummer: 1417558
Vinyl-LP | 2026 / EU - Original | Neu
32,99 €
Inkl. MwSt. zzgl. Versandkosten
Vorbestellungen werden ab dem 28.08.2026 versandt.
Das Datum basiert auf den Angaben unserer Lieferanten und kann sich ändern.
Die farbige Vinyl-LP „Master Of The Skies Limited Neon Yellow Vinyl Edition“ von The Quill ist bei Metalville erschienen und vereint die neuen Studioaufnahmen des schwedischen Veteranen-Quartetts. Die LP enthält zehn Tracks mit einer Spielzeit von rund 45 Minuten. Der Titeltrack ist in einer Extended Version und als Reprise enthalten, während das epische Stück „Mastodon“ mit über neun Minuten Spielzeit viel Raum für ausgedehnte Riffpassagen bietet.

Musikalisch bewegt sich The Quill zwischen druckvollem Hard Rock und Stoner-Rock-Elementen, wobei Groove, Schwere und Melodie stets eng miteinander verwoben sind. Auf dem Album setzt die Band auf dunklere, dichtere Klangfarben als auf früheren Veröffentlichungen. Die Arrangements reichen von prägnanten, riffbetonten Songs bis hin zu atemlosen, doomigen Momenten. Diese Balance zwischen Eingängigkeit und düsterer Atmosphäre zieht sich durch das gesamte Album.

Gesang und Gitarrenspiel stehen im Zentrum der Kompositionen, während die Songs durch bewusst gesetzte Tempowechsel und dynamische Übergänge zusammengehalten werden. Damit knüpft The Quill an seine lange Bandgeschichte an und untermauert seine Rolle als feste Größe in der skandinavischen Hardrock-Szene.

After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.

With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.

Emerging in the early 2020’s - Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth Of Veins’ was released in 2022, & their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.

Returning now for Static Abyss’ third studio album, & with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare inducing trip through the sonic abyss. Continuously & relentlessly flitting between brutal passages & hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust & Doom elements.

‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing & mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.

This edition of ‘The Dying Hunt’ is presented on limited yellow marble vinyl, including printed inner sleeve with lyrics.

Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.

‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).

Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.

Emerging in the early 2020’s - Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth Of Veins’ was released in 2022, & their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.

Returning now for Static Abyss’ third studio album, & with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare inducing trip through the sonic abyss. Continuously & relentlessly flitting between brutal passages & hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust & Doom elements.

‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing & mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.

This edition of ‘The Dying Hunt’ is presented on limited yellow marble vinyl, including printed inner sleeve with lyrics.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.

‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).

Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.

Bruno Silva returns under his Ondness moniker for his most personal album yet.

Recorded as an homage, a reference map, and a temporal slippage back to a transformative period of Bruno Silva's life, I Can Only Put So Much Into a Song conjures the threshold between his shoegaze-leaning teen years and a young adulthood defined by profound sonic landmarks: Iran’s The Moon Boys (whose cover serves as a key influence), The Microphones’ It Was Hot, We Stayed In The Water, Fennesz’s Endless Summer, and the communal, tape- hiss maelstrom of the New Weird America underground—all underscored by a persistent Black Metal tension.

Taking its title from a lyric in Farrah Abraham’s masterpiece My Teenage Dream Ended, this new humble offering from Ondness drifts into the memory of song as half-remembered recollections, as if beamed from a recurring "now" of unfulfilled possibilities.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

In a year which marks the 40th anniversary since the initial formation - under the moniker of Black Death - of what would subsequently grow into influential genre legends, 2026 marks the return of the imperishable Norwegian duo of Fenriz & Nocturno Culto for their new opus of high calibre old metal, under the banner of 'PreHistoric Metal'. As Fenriz himself proclaims of the title's symbolic origin, "Prehistoric is a loose term.

I just figure it's our VIBE, our take on things & it's more a statement that we use old style to create something new". 'Pre- Historic Metal' contains eight tracks of primal epics & gargantuan riffs with organic sound & the ever- present permeating spirit of the 70s & 80s, for a new continuation of the mastery witnessed on 2024's 'It Beckons Us All'. This next chapter in Darkthrone's extensive & ongoing catalogue presents a vast odyssey through the sonic landscapes of Thrash, Black, Heavy & Doom Metal &, adorned with a punishing & "in your face" guitar presence, Darkthrone stirs the cauldron of savage creativity with a nod to the writing methods which were indicative of their earlier works of the late 80s, but with a more refined craft.

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."

ABOUT WORLD WITHOUT GOD: Alongside the band's early '90's counterparts 'World Without God', Convulse's first proper full-length, helped pave the way for a new generation of death-metal extremity. ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

About From Resuscitation to Reincarnation - The Early Years: "From Resuscitation to Reincarnation - The Early Years" presents Convulse's transformation from the straightforward death metal band to the more diverse death & rock band. It includes CONVULSE's first demotape "Resuscitation of Evilness" (1990) and the "Lost Equilibrium" EP (1992). ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus.

From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young"

ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH.

This audiophile quality presentation of ELEH's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.

"Nuances of sound turn symphonic." New York Times

“ELEH’s sounds move by stealth and are sculpted from the world rather than from ego. Eleh is not a personality; Eleh is an idea about sound. ELEH forces you to contemplate the cosmos and your place in it. “ Gramophone

"ELEH demonstrates how a single amplified gesture delivered just so can reveal the inner workings of an entire cosmos." Tony Herrington/Wire

“Floating Frequencies/Intuitive Synthesis more than lives up to the mythic status that ELEH has ascended to. “ Brainwashed

"ELEH's music electrifies whatever space it engages. With the flip of a switch, it exposes the ways in which all space is, potentially, electric." ~ Frieze

New Jersey malevolents FUNEBRARUM uncloak their third full-length; the sheer magnitude of "Beckoning The Void Of Eternal Silence" rains down world-ending Doom tenebrosity with searing scowls of Death Metal assailment. With a perturbed atmosphere writhing around the entire record, the pulsation of which "Beckoning The Void Of Eternal Silence" breeds is an expertly calculated Deathdoom craftsmanship and yet emitting at times a surreal bridging between extreme genres in orchestra-like precision. The core DNA of FUNEBRARUM has remained intact albeit the exalted darkness have shaped themselves to be cut from a different cloth. Recorded at Elektric City Recording (Ascended Dead, Coffin Rot, etc) by Charles Koryn with additional recording and mixing duties by Stephen DeAcutis at Sound Spa Studios (Ripping Corpse, Evoken, Disma, etc). Mastered by Daryl Kahan at Winterdark. Cover artwork by Daryl Kahan.

2026 Repress

New colour cover (fluorescent and metallic) and new ‘Crystal Red Method’ colour for the vinyl.

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

Futurismo are proud to present the iconic 1982 debut album, Only Theatre of Pain, by gothic legends CHRISTIAN DEATH. Available on deluxe 2xLP, CD digipak.

Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, Only Theatre of Pain is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.

Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps Only Theatre of Pain is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on Only Theatre Of Pain is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.

Only Theatre Of Pain is presented here in a new remastered deluxe pressing with a second disk containing early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.

This classic LP comes in deluxe super limited edition ‘California Hell’ coloured vinyl and contains a second disk of bonus material. It is packaged in a gloss laminated sleeve with metallic ink, containing printed inner sleeves, a large fold out poster, redux artwork featuring the photography of Edward Colver, and liner notes by Lisa Fancher of Frontier. Also available as CD digipak

Am 24. Juli 2026 präsentieren wir voller Stolz die Rückkehr eines wahren Meilensteins der Metal-Geschichte: AVANTASIA – The Metal Opera
Part I, neu aufgelegt als Vinyl-Edition zum 25-jährigen Jubiläum.
Das Album, ursprünglich 2001 erschienen, markierte den Beginn von Tobias Sammets visionärem Projekt AVANTASIA und definierte die Möglichkeiten des Symphonic und Power Metal neu. Mit einer außergewöhnlichen Besetzung an Gastmusikern und -sängern wurde The Metal Opera Part I schnell zu einem genreprägenden Werk und legte den Grundstein für eine der ambitioniertesten und fortlaufendsten Sagen des Metal.
Für diese besondere Jubiläumsausgabe erscheint das Album zum ersten Mal in seiner endgültigen Vinyl-Form, mit einem eigens von Mika Jussila erstellten Vinyl-Master, das optimale Klangqualität speziell für das analoge Format garantiert.


Diese Veröffentlichung erscheint als hochwertiges Doppel-LP-Set auf 180g schwerem Vinyl in einem wunderschön gestalteten Klappcover, sie spiegelt den epischen Umfang und die erzählerische Kraft des Originals wider.


Eine wegweisende Veröffentlichung – und die lang ersehnte Gelegenheit, das Album in seiner bisher kraftvollsten und authentischsten Vinyl-Präsentation zu erleben.

Am 24. Juli 2026 präsentieren wir voller Stolz die Rückkehr eines weiteren Meilensteins der Symphonic-Metal-Geschichte: AVANTASIA –
„The Metal Opera Part II“, neu aufgelegt als Vinyl-Edition zum 25-jährigen Jubiläum.
Das ursprünglich 2002 erschienene Album setzte Tobias Sammets bahnbrechendes AVANTASIA-Konzept fort und erweiterte es,
wodurch sich das Projekt als eine der ambitioniertesten und auf Zusammenarbeit ausgerichteten Kräfte im modernen Metal etablierte.
Mit einer herausragenden Riege an Gastmusikern und -sängern festigte „Part II“ den Ruf von AVANTASIA als echte
Metal-Oper im wahrsten Sinne des Wortes.
Für diese Jubiläumsausgabe erscheint das Album erstmals in seiner endgültigen Vinyl-Form, mit einem eigens von Mika Jussila erstellten Vinyl-Master, das speziell für die hochwertige analoge Wiedergabe optimiert wurde. Die Veröffentlichung erscheint als Premium-Doppel-LP auf 180g schwerem Vinyl in einem eindrucksvollen Gatefold-Cover, das die Größe und Dramatik der Originalproduktion würdigt. Eine lang erwartete Sammleredition – und die ultimative Art, „The Metal Opera Part II“ auf Vinyl zu erleben.

High Roller Records, reissue 2022, black vinyl, ltd 250, lyric sheet, poster, mastered for vinyl by Patrick W. Engel/ Temple of Disharmony
“Urm the Mad” was Protector’s sophomore album, recorded in the summer of 1989 at the Phönix Studio in Bochum, where the four-piece from Wolfsburg had already recorded their killer full-length debut “Golem”. Urm the Mad” was to become the last album before the split in 2003 that features Martin Missy; he should be replaced by Olly Wiebel in December 1989. Protector did not change too much about their style – genre-defining early thrash/death – but one of the most notable things about “Urm the Mad” was the sound: The album is famous for its heavy, noisy, dirty sound, for its raw production that makes the music all the more evil and menacing, with guitars in the front and Martin’s unmistakeable vocals lying on the riffs like poisonous mould. “Urm the Mad” is thrash metal walking the path of death. Protector’s special blend of thrash and death metal has always set them apart from their compatriots and even inspired German metal tabloid Rock Hard to declare Protector to be “Germany’s hardest band” – and this in 1989, the year both Kreator’s “Extreme Aggression” and Sodom’s “Agent Orange” were released! Protector, too, play fast and energetic thrash, but the overall feel of the album is that of creeping, lurking evil – crawling along on frequently slowed down, heavy riffs and Martin Missy’s sick death-like growls which seem to come straight from the charnel house. “Urm the Mad” does not sport that “positive” aggression usually found in 80’s thrash; on the contrary, the album is grim, dark and desperate, but nonetheless brutal and extreme. Back in the days, Protector’s contribution to the then-proliferating Teutonic thrash was mainly recognized within the underground scene, and the metal press played its own part in keeping Protector a bit below the radar: “We got pretty much the same response as we got for ‘Golem’: Good, positive feedback from our fans and ‘ok’-reviews from the bigger metal magazines.” Time to make up for that.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.