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THE ICONIC 1993 MASTERPIECE OF UK GOTHIC DOOM PRESENTED ON
SINGLE BLACK VINYL. My Dying Bride has been the leading light of doom
metal since the debut album "As The Flower Withers" was released on
Peaceville Records back in 1992
Influenced by acts such as Celtic Frost & Candlemass, the band's heavy
atmospherics have carved a huge worldwide following over the years & they
remain at the pinnacle of the genre & one of the most instantly distinguishable
metal bands.
Originally released on Peaceville in October 1993 & recorded at Academy Studios
in Yorkshire, 'Turn Loose The Swans' saw the arrival of long- time session
musician & classically trained violin & piano player Martin Powell. The album also
saw the band stretching & pushing the grandiose textures & epic doom dynamics
to create an opus of previously unrivalled atmosphere & stark emotion.
Fans & critics have since hailed 'Turn Loose The Swans' as the blueprint for the
new Gothic Metal genre, with many often still citing the release as among the
defining albums of the band's distinguished career.
This edition of 'Turn Loose The Swans' is presented on single black vinyl, now
with cover artwork from the original CD edition.

Standout favorites of RidingEasy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on Thunderbolts of Fuzz.The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.
Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take center stage as lead singer of the expanded lineup. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. For more facts and information visit thelitter-lightning.
Album opener “Prelude to Opus IV” is a wailing rocker with blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls jam packed into an epic 4 minutes that serves enough testament to the band’s greatness, nothing more need be heard or said. However, the would-be hits keep coming as the Led Zeppelin meets Black Oak Arkansas thwack of “Hideaway” and “Born Too Rich” come screaming out of the speakers. “When A Man Could Be Free” shows the band could also reign in the fury, at least a little bit, for a warm Southern rock style ballad. “Borrowed and Blue” echoes the stately poetry of Electric Ladyland-era Hendrix with a dash of The Who’s rollicking psychedelia. “1930” is, quite simply, insane. Searing twin guitars with incredible fuzz-drenched tone, a warm and buzzing bass line bounce atop drummer Bernie Pershey’s unrelenting bass drum triplets while Stanhope ravages his lungs with soulful abandon. The album closes with the aptly titled “Before My Time” a barnstorming boogie rock instrumental the proves the band vanished long before receiving their due.

Repressed !

Fuzzed out and psychedelic covers of rare and classic tracks performed by San Francisco's Monophonics.
Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regular mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.

The name COLD EMBRACE has stood for heavy, epic Doom Metal for over 24 years now. Lyrically, a lot revolves around nature-loving paganism. But there are also everyday experiences about people on the lyrical menu. The band was founded by Andreas Libera (bass, vocals). The first permanent line-up came about in 1998 during the recording of the third demo through a collaboration with Michael Hahn
(INCUBATOR, ex-RHYTHM JUNKIES (guitar, vocals)), who was in charge of the recording as a producer, moreover, who recorded some lead and melodic guitars. The was the result of the collaboration was the debut „Ode to Sorrow“ from 1999, which triggered positive reactions from the press (Orkus, Metal Hammer etc.). After the release, COLD EMBRACE got the opportunity to accompany New Orleans sludge doom legends CROWBAR on their German tour dates. In 2001, the second album, Age of Doom, a thoroughbred epic Viking Doom record, was produced. They were not idle at all and already in August
2003 they recorded the compositions for the EP „Buran“. Some of these were songs that were not included on the two albums. Since no label could be found, the hitherto successful band and project slowly but surely fizzled out. At some point the involved partners sat together and listened to the „BuranEP“ after a long break. It was concluded that a few new songs and a qualitatively adjusted remaster would be a good start.

So „Buran“ was remixed, mastered and new songs were added. The result will be released in 2022 by the authentic label ALLEGRO TALENT MEDIA under the album title „Versus Recentem Mundum“. At the same time, it should serve as a prelude to the fourth full-length album, which is scheduled for release in 2023.

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.

Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.

The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.

The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.

This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

Two years after the release of their last album "Wolves Among The Ashes", Svart Crown comes back with a sixth and new opus. The EP, called "Les Terres Brûlées" will be released as a coproduction between the band's label Nova Lux Production and Les Acteurs de l'Ombre Productions.

Just like a return to the basics, the five tracks that compose this EP form up a sulfuric halo between rage and transcendance. Recorded in several Southern France places and once again mixed by Francis Caste at Saint-Marthe studio, the organic, made for live production gives a suffocating warmth to the album's five pieces. Like a kind of epitaph, "Les Terres Brûlées" is a true abstract of
the band's 18 years of experience.

The first track to be revealed, "Digitalis Purpurea" is an astral journey through the inconscience limbo. A chaotic vision of its own death warrant, between dream and reality, where fire, opiates and sulfur smell coexist.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

2000'S CLASSIC 'BREEDING DEATH' EP DEBUT FROM THE SWEDISH
MASTERS, PRESENTED ON MID-PRICE CD WITH BONUS TRACKS -
FEATURING THE LINE-UP OF ANDERS NYSTROM, JONAS RENKSE,
MIKAEL AKERFELDT & DAN SWANO.Bloodbath is a titan of death metal
from Stockholm, Sweden, notable for the inclusion of Katatonia & Opeth
members &, in their recent era, welcoming Nick Holmes of UK doom
legends 'Paradise Lost' to join in with the brutality
Formed in 1998 with a mutual fascination for horror & the glory days of death
metal from classic bands such as Entombed, Morbid Angel, Cancer & Autopsy,
Bloodbath has remained a leading light of extreme metal since their 'Breeding
Death' EP was unleashed back in 2000, & a formidable force for over 20 years,
cemented in recent times by their 'Grand Morbid Funeral' (2014) opus & its followup, the even blacker- hearted 'The Arrow of Satan is Drawn' in 2018. 'Breeding
Death' was the original catalyst to propel Bloodbath into the death metal sphere
with full force. Primarily dedicated to recreating the buzzsaw, high-energy sound
of mainly Swedish greats such as Entombed, Carnage & Dismember, 'Breeding
Death' was pure death metal worship to reignite the fading old school essence of
brutality as the 21st century dawned.
Bloodbath's initial line- up consisted of Anders Nyström & Jonas Renkse of
'Katatonia' joined by Mikael Akerfeldt of 'Opeth' on vocals & completed by Dan
Swanö of 'Edge of Sanity' on drums. The EP was recorded at The Sanctuary in
Sweden, with production & mixing duties also handled by Dan Swanö.
This edition of 'Breeding Death' is presented on mid-price CD & includes bonus
tracks in the shape of demo versions of the songs 'Breeding Death' & 'Ominous
Bloodvomit'.

BLOODBATH'S 2002 DEBUT FULL-LENGTH STUDIO ALBUM MARKS ITS
20TH ANNIVERSARY, ON MID-PRICE CD - FEATURES THE LINE-UP OF
ANDERS NYSTROM, JONAS RENKSE, MIKAEL AKERFELDT & DAN
SWANO.Bloodbath is a titan of death metal from Stockholm, Sweden,
notable for the inclusion of Katatonia & Opeth members & in their recent
era, welcoming Nick Holmes of UK doom legends Paradise Lost to join in
with the brutality
Formed in 1998 with a mutual fascination for horror & the glory days of death
metal from classic bands such as Entombed, Morbid Angel, Cancer & Autopsy,
Bloodbath has remained a leading light of extreme metal since their 'Breeding
Death' EP was unleashed back in 2000 & a formidable force for over 20 years,
cemented in recent times by their 'Grand Morbid Funeral' (2014) opus & its followup, the even blacker-hearted 'The Arrow Of Satan Is Drawn' in 2018. Debut album
'Resurrection Through Carnage' was released in 2002 & built on the foundations
laid by the 'Breeding Death' EP, with a continuation of the classic old school
Swedish sound & d-beat style, whilst notably establishing a maturity & identity of
their own. The album introduced more dynamic & controlled, groove- laden
passages & melodic/atmospheric texturing, whilst still infusing the compositions
with influences from the genre's glorious past.
As with 'Breeding Death', Bloodbath's line-up of Anders Nyström & Jonas Renkse
of Katatonia, Mikael Akerfeldt of Opeth & Dan Swanö of Edge of Sanity remained,
with production & engineering duties once more handled by Dan Swanö & the
band.
This edition of 'Resurrection Through Carnage' marks 20 years since the album's
original release & is presented on mid- price CD with 8- page booklet including
lyrics

SINGLE VINYL EDITION OF DODHEIMSGARD'S 1999 MASTERCLASS OF
BOUNDARY-PUSHING EXPERIMENTAL BLACK METAL.To fans of black
metal, Dødheimsgard need no introduction, being one of the great
purveyors of the Norwegian Black Metal creative evolution
The band was formed in 1994 by Aldrahn (Thorns) & Vicotnik (Ved Buens Ende).
The early incarnation was that of a raw & at often melodic black metal band, with
their debut album also featuring Fenriz of Darkthrone on bass. In recent years,
Dodheimsgard has become known for its eclectic musical ventures & poignant
mood shifts, with a less chaotic, more considered approach compared to their
earliest works. Following the 'Kronet til Konge' & 'Monumental Possession'
opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP
& by Dødheimsgard's third album, '666 International', Vicotnik had taken over a lot
of the writing duties, with DHG's style becoming more technical yet ferocious
black metal, with strong experimental ideas & industrial elements. Vicotnik's riffs
were inspired by cult bands such as Thorns & perfectly entwined with Aldrahn's
delightfully twisted lyrics & immense vocals to create something truly unique. In
its '666 International' incarnation, DHG (as they were later to be known) featured a
line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved
Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety)
on keyboards, as the album was constructed over a period of time. All in all, '666
International' is rightly regarded as a highly influential masterpiece of avant-garde
metal by many since its release in 1999.
This edition of '666 International' is presented on black vinyl in single sleeve,
retaining the original cover artwork & contains lyrics.

ANATHEMA'S CLASSIC 1995 OPUS OF MONUMENTAL ATMOSPHERIC
DOOM, PRESENTED ON SINGLE VINYL.Anathema has spent most of their
career making music that defies description
As part of the Peaceville 3, along with Paradise Lost & My Dying Bride, Anathema
have carved a strong legacy since their inception at the turn of the 1990's, to
become a widely revered & respected band within both the metal world & beyond,
as their sound & compositions progressed from doom/ death metal into more
rock & progressive territory with each subsequent release, becoming one of the
UK's most cherished & critically acclaimed rock bands. 'The Silent Enigma',
Anathema's second studio album, was originally released in the summer of '95 &
was the first release on which guitarist Vincent Cavanagh took over the vocal
duties of the departed Darren White. Where Darren's vocals were guttural,
Vincent's style pushed the possibilities for Anathema onwards & upwards, with a
scope & breadth beyond his years, complimenting an ethereal roller- coaster of
thoughtful atmospherics & crushing Celtic Frost style riffs - the Swiss legends
being a notable inspiration. What emerged was a fine example of highlyatmospheric & often emotional gothic doom, spawning classic Anathema songs
such as "Restless Oblivion", "Sunset of Age", "The Silent Enigma" & "A Dying Wish".
Lauded by the metal press & fans alike as a doom metal classic, the album's
popularity has remained a favourite within the metal scene.
This edition of 'The Silent Enigma' is presented on single vinyl including inner
sleeve with lyrics.

The Ray Alexander Technique were four gifted musicians from Harlem led by Raymond Alexander Jenkins, they recorded their solitary LP ‘Let’s Talk’ in 1974. Amongst 70s soul and funk albums it is in the exalted status category.

Selected as a first time on a 45 is ‘Taking The Long Way Home’, a wonderful mid-tempo opus conveying the message of never giving up.

Featured on Side 2 is the band’s final and hideously rare LU JUN 45. Ray’s friend Chris Bartley was enlisted and was the featured vocalist on both songs - ‘I Am In Love With You’ is a stunning sweet soul ballad, whilst ‘I Wonder Why’ takes the tempo up a few notches and packs an equally emotional punch thanks to the great arrangement and Bartley’s achingly wistful performance.

ANATHEMA'S NIGHT OF ETHEREAL DOOM METAL MAGIC FROM
KRAKOW, POLAND, 1996, WITH A SELECTION OF CLASSICS FROM THEIR FIRST TWO ALBUMS - PRESENTED ON VINYL FOR THE FIRST TIME'A

Vision Of A Dying Embrace' contains a night of spellbinding Doom Metal from Anathema's live show in Krakow, Poland, in 1996 Whilst still reasonably early in the career of the band & with rhythm guitarist Vincent Cavanagh taking on vocal duties only relatively recently for the sublime 'The Silent Enigma' opus, the set contained a whole selection of now-established classics from Anathema's first two studio albums & 'Pentecost III' EP, with epics like 'A Dying Wish', 'Sleepless', & 'Mine is Yours' captured in their purest & rawest form in the live setting. Anathema has spent most of their career making music that defies description. As part of the "Peaceville three", along with Paradise Lost & My Dying Bride, Anathema have carved a strong legacy since their inception at the turn of the 1990's, to become a widely revered & respected band within both the metal world & beyond, as their sound & compositions progressed from doom/ death metal into more rock & progressive territory with each subsequent release, becoming one of the UK's most cherished & critically acclaimed rock bands. This edition of 'A Vision Of A Dying Embrace' is presented on the vinyl format for the first time & includes printed inner sleeve.

First Word Records is extremely delighted to present 'Torn : Tonic' — the sophomore album from singer, performer, poet and producer, Allysha Joy.

Delivered unfiltered, straight from the soul, ´Torn : Tonic' pulls us into a 10 track journey that weaves through the multiplicity of letting go, standing tall, and creating space all at once. The album's expansive and vivid exploration of healing examines the power that comes with accepting the complexity of change. Allysha walks listeners through the remedy she finds in sound and emerges empowered to share this healing with others. Deeply moving and lyrically compelling, 'Torn : Tonic' hosts a stellar line-up of artists, creating a world of collective power, growth, and hope.

Allysha Joy is an integral member of the vibrant Melbourne soul & jazz scene, well known for both her solo work and as lead vocalist for 30/70. A uniquely-talented soul, her husky voice, and formidable Fender Rhodes prowess have garnered attentive audiences around the world.

Her 2018 debut album 'Acadie : Raw' was named 'Best Soul Album' at the Music Victoria Awards, featured in Bandcamp's 'Top Soul Albums' of the year and received a nomination for 'Best Jazz Album' at the Worldwide Awards. An incredibly prolific artist, Allysha has released on labels; Rhythm Section, Gondwana, Future Classic, Total Refreshment Centre and now another drop for First Word, after her acclaimed 2020 EP, 'Light It Again'.

Allysha's production on 'Torn : Tonic' effortlessly arches across a sonic palette, comprised of shuffling broken grooves and exquisite celestial melodies. There are healthy swathes of skippy neo-soul boom bap sensibilities, entwined with stark swing-laden electronic percussion, Detroit-esque sun-saturated synths, and Antipodean bruk backbeats. And whilst this project was produced entirely by Joy herself, she is far from alone, inviting in an array of female and non-binary artists to bless assorted tracks with their own unique gifts. Ego Ella May, BINA, Rara Zulu, Belle Bangard and Dancing Water all appear, expanding upon the formulaic roles of featured artists to share the creative space as equal collaborators.

'Torn : Tonic' exudes vibes, from the opening whiplash snare of 'Peace, to the rolling jazz-bruk of lead single 'Let It!', to the sweet soulful sonics of 'Still Dreaming', to the closing triumphant shout of "All Joy!!" on 'G.N.D.', this is a 40-minute opus that will definitely require repeat listening.

Allysha's poetic introspection reveals the album's intention to demand space, purpose, and pleasure. Her words are deliberate and direct to the alarm bells and messages her artistic vision carries. Fluid, cross-genre, and spirited with generational stories embodied, 'Torn : Tonic' sits at the intersection of a feminist manifesto of Joy's momentous leap as an artist, and her exploration of what it means to be human in today's capitalist-driven world.

In Allysha's words, 'Torn : Tonic' is exactly as the name describes. "It is looking directly into the shadow of pain and overcoming it with joy. No love songs! Just social, political, emotional anthems for change! It is the first record I have produced entirely on my own and it feels like that perseverance that I have consistently had to conjure up is embedded in this music, overcoming my own conditioning in a society and industry that constantly tells me I can't, so I must!"

"Released in May 1986 on SST Records and Blast First! in the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility. “EVOL … marks the true departure point of Sonic Youth’s musical evolution,” noted Pitchfork, “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, impose melody and composition on their trademark dissonance.” ""If Daydream Nation is Sonic Youth’s opus, EVOL was crucial research. There’s a directness that makes everything feel close. It is pure tension with little release. The entire record is a shadow." Stereogum likewise praised the album as one, “full of suspense…, the cornerstone [Nico-evoking] monotone [by Kim Gordon]. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers in the vocal booth.” For Popstache, “EVOL slithers into the unconscious. Once the....detuned melodies and haunting riffs and final whispers of feedback depart from the speakers… the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” // “The seeds of greatness…” Pitchfork (who placed the album #31 of the Top 100 Albums of The 1980s) // “A near-masterpiece.” Trouser Press // “A stunningly fluent mixture of avant-garde instrumentation and subversions of rock’n’roll.” All Music Guide"

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

A defining artistic statement:Savatage's first concept album!
Every fan believes that their favourite band has a crowning achievement,
a magnum opus, a defining artistic statement
For many Savatage diehards, that landmark is Streets.Originally released in 1991,
the group's first rock opera tells of a rock star who ultimately overcomes the
demons of his drug- dealing past to achieve spiritual salvation. The album
spawned what would become the band's most beloved song, an epic tale of
redemption titled "Believe". It would also be the last Savatage record featuring
vocalist Jon Oliva performing alongside his late brother, guitarist Criss Oliva.
This Savatage classic is being reissued as a Heavyweight Double LP Gatefold
Edition on Black Vinyl, along with a Limited Collector's Edition on Ocean Blue
Vinyl. Both editions are mastered for vinyl and reissued with the original cover
design, specially enhanced artwork, including a 12pages LP booklet with
extensive liner notes by Clay Marshall.
"'Streets' was in my opinion the best work we did with the line-up of Criss, myself,
Johnny, Steve and Paul. It is definitely the most versatile of all our albums, and if
there is one album that shows all the sides of Savatage, 'Streets' is the one" (Jon
Oliva)

A defining artistic statement:Savatage's first concept album!
Every fan believes that their favourite band has a crowning achievement,
a magnum opus, a defining artistic statement
For many Savatage diehards, that landmark is Streets.Originally released in 1991,
the group's first rock opera tells of a rock star who ultimately overcomes the
demons of his drug- dealing past to achieve spiritual salvation. The album
spawned what would become the band's most beloved song, an epic tale of
redemption titled "Believe". It would also be the last Savatage record featuring
vocalist Jon Oliva performing alongside his late brother, guitarist Criss Oliva.
This Savatage classic is being reissued as a Heavyweight Double LP Gatefold
Edition on Black Vinyl, along with a Limited Collector's Edition on Ocean Blue
Vinyl. Both editions are mastered for vinyl and reissued with the original cover
design, specially enhanced artwork, including a 12pages LP booklet with
extensive liner notes by Clay Marshall.
"'Streets' was in my opinion the best work we did with the line-up of Criss, myself,
Johnny, Steve and Paul. It is definitely the most versatile of all our albums, and if
there is one album that shows all the sides of Savatage, 'Streets' is the one" (Jon
Oliva)

Continuing with the theme of finding and releasing quality 21st century CD-only tracks on to 7” vinyl, Jai Alai now are proud to present their fourth release which showcases the stand-out tracks from the only two albums released under the name Sir Wick.
Chad ’Sir Wick’ Hughes is probably best described as a musician (trombone, piano, percussion), composer, teacher, adjudicator and clinician, but somehow that doesn’t seem quite enough to describe such a unique musical talent. Born in Detroit, and graduating from the same High School as Diana Ross, Paul Thompson, & Ron Carter, he went on to study composition and arranging, and holds regular clinics around the north and mid-west US states sharing his expertise.
The topside on this limited edition release is the lead track from his debut album “An Interpretation Of A Universal Language” (2007 Sir Wick Entertainment LLC) which features the sublime vocals of Sedalia Marie, a beautiful mid-pacer, whilst the other side “I Love You” features the mellow vocals of Anthony Saunders on a track from Chad’s opus work “A Tale Of Two Fools”, which he began in 1996 but only finally orchestrated and released as his second album in 2017 - a soundtrack featuring a full orchestra comprising eight woodwind parts, full strings, big band brass, and seven-piece rhythm section.
Originally intended as an operetta, it was evolving into something bigger; an opera, musical or stage play maybe, but he finally referred to it as a ‘novical’ (a musical novel), which best describes this story of a young musician falling in love for the first time. A biopic, maybe?
One could easily take these two fabulous tracks at face value as simply just another great double-sider, but isn’t it nicer to know the full story?

Steve Hobbs (Solar Radio, Totally Wired Radio)

Randomly packed vinyl in various colours.

Oxbow is a band that is legendary and notorious, and their rich musicianship and history precedes them. Originally started as a recording project in 1988 from the ashes of Bay-Area punk rock band Whipping Boy, their 30-plus year history has unlike any other in contemporary music, bar none.
A cast of characters that have no problem “making you a part of the show” if you cross them, their shows have been known to push the limits of comfort, crossing over into sometimes downright dangerous. Never gratuitous though, Oxbow has always done it with class.
In 1995, the band released their Steve Albini-recorded opus, “Let Me Be A Woman” on European indie label Brinkman Records. With cover art by the amazing Jim Blanchard, and a few rounds of reissues on CD and vinyl overseas, the album has not once seen the light of day as a US Release, ever.
Until now.
Having just joined forces with Mike Patton’s Ipecac Records for the release of their upcoming new album ‘Love’s Holiday” coming in 2022, we here at Blackhouse Ltd. are proud to present also what will be the first North American release EVER of “Let Me Be A Woman” on a limited vinyl run.
Completely remastered by none other than mastering legend John Golden, the album will see multiple colored vinyl variants and completely restored artwork.

DELUXE REMASTERED EDITION

Lil’ Beethoven is the 19th studio album by Sparks and was originally released in October 2002 in the UK and is now, for the first time ever, being released on vinyl!

The band themselves describe Lil’ Beethoven as a ‘career-defining opus’ with more classical-influences and was also critically applauded, leading to a renewed interest in the band. The album has been newly remastered and will be released on heavyweight vinyl.

This album will be launched alongside a comprehensive Marketing campaign, including brand new assets, as well as archival material from the time of the original launch. We have access to the Sparks socials, which we will utilise for boosted posts, ads and organic posts. The release will also be launched alongside a PR campaign, which should secure coverage across digital and print media.

Die Electro-Keule kreist wieder! Nicht einmal zwei Jahre nach ihrem letzten Album sind die mexikanischen Höllen-Cousins zurück aus dem Pandemie-Kerker und lassen ihrer Aggression auf dem neuen Opus „Hyperviolent“ unverblümt freien Lauf. Latent bedrohlich und eher schleichend rabiat wie bei „Broken Empires“ oder im pulsierenden Dark’n’Bass-Gewand wie bei der zweiten Vorab-Single „Backstabbers“ – Hocico spielen auf den 13 Tracks ihres neuen Longplayers die komplette Aggro-Klaviatur. Dazu zählt auch und vor allem der Bonus-Track „Weapons Of Resistance“, den Erk gemeinsam mit Ten56.-Frontmann Aaron Matts eingesungen hat und der nach Kooperationen mit Lord Of The Lost und Ost+Front einen weiteren Krachmacher-Trip ins Gitarrenlager bedeutet. Auch 2022 gilt für Hocico also: Knüppel aus dem Sack oder einfach gesagt: „Hyper hyper“!

Less than two years after their last album, legendary Mexican Electro duo Hocico is once again filling the air with their unabashedly sound and strikes hard with their full range of aggression on the band's brand new album "Hyperviolent".

Belgian Metal frontrunners EVIL INVADERS are ready to unleash their third album, Shattering Reflection, on April 1, 2022 via Napalm Records! It took the band almost five years to craft a new record and it has been undoubtably worth the wait. EVIL INVADERS have found the perfect balance between fast, mid and slow tempo songs focusing on strong choruses, touching lyrics and even some progressive touches that will grab every Heavy Metal fan by the throat and screaming for more! EVIL INVADERS’s Shattering Reflection is promising to be a game-changer for the Belgian 4-piece as the band seems to have found their own formula to turn Heavy Metal into another extreme direction. Shattering Reflection takes off with a fast Heavy Metal banger “Hissing in Crescendo”, followed by the epic anthem “Die For Me”, already destined to become an EVIL INVADERS’s all-time classic. A calmer side is explored on tracks like mid-tempo opus ”Forgotten Memories“, creating a dense, heavy wall of sound with piercing vocals and ditto lyrics underlined by guitar solo virtuosity. That thrilling epos stands in line with “In Deepest Black”, which showcases even more how the band has managed to craft a pure classic Heavy Metal anthem with melodic guitar lines and catchy choruses, creeping relentlessly into the listener’s head. It also proves how Joe has matured as his vocals have entered a whole new dimension, both in the high and the low ranges. On the contrary, ”Sledgehammer Justice“ is a furious outburst of classic Thrash/Speed Metal in which the Belgian quartet goes full throttle with hammering rhythms and guitar solo madness! Another album highlight is the dark opus ”The Circle“, creating a horrifying atmosphere with stomping drums and excellent guitar lines. Fans of King Diamond will definitely dig this one! Throughout the album the band manages to keep the balance between fast Extreme Heavy Metal with sharp shredding and mosh-worthy tracks, as well as very melodic, more intense and chorus-oriented midtempo anthems. Shattering Reflection has turned out to be a monster of an album that will prove that in a new generation of Metal bands, EVIL INVADERS have been able to develop and mature record after record, just like the great classics did in the good old days. You will want to hear this record and also find out how EVIL INVADERS will deliver this masterpiece live on stage! credits

Very limited double black vinyl, Download Card Included. No returns. This is for Indies Only. Seminal post–hardcore band Girls Against Boys are celebrating the 25th anniversary of the 1996 release of their critically acclaimed album House of GVSB with a double vinyl reissue of the album. Packaged in a full-color gatefold jacket, side A and B are the original album remastered by Bob Weston (Shellac). Side C and D feature odds and ends from the band’s 90s era work including sought-after b-sides, singles, compilation tracks, and one previously unreleased recording. Beginning February 4, 2022, GvsB will embark on their first tour since 2013. The band will be playing songs from across their entire catalog with stops in Chicago, Los Angeles, Washington, DC, and Seattle, among other cities. European dates to be announced soon. “the great ’90s post-hardcore thud-masters” Stereogum // “A pathbreaking hard-rock opus that plays like one long money shot” SPIN #5 Top Album of the Year

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

Die Londoner Band Palace hat ihr drittes Album ”Shoals” angekündigt, das am 21. Januar über Fiction/Virgin Music erscheinen wird. ”Shoals” ist ein tiefgründiges und nachdenkliches Album, das in seinen
12 fesselnden Tracks einige der größten Fragen des Lebens kühn erforscht. Es erkundet geschickt drei
existenzielle Dilemmas vor einem breiteren Hintergrund des Staunens über die Weite und Kraft des Ozeans
und schließt seinen Bogen mit dem atemberaubenden Opus ”Where Sky Becomes Sea”. Durch das Eintauchen in Themen des Unterbewusstseins, der Träume und des Existenzialismus ist ”Shoals” im Großen
und Ganzen ein Album über das Leben mit und die Verarbeitung von Angst. Der Titel ist inspiriert von dem
scheinbar unvorhersehbaren Verhalten von Fischschwärmen, die sich genauso schnell verändern wie unsere
Ängste und Befürchtungen in Bezug auf die Welt um uns herum, erklärt Frontmann Leo Wyndham: ”Es
erforscht und hinterfragt, was wirklich greifbar und real ist - was wirklich zählt und was wir im Tod werden
- und die Angst davor. Die Angst zu existieren und die Angst zu sterben. Es ist eine Ode an die Kraft des
Ozeans und die Majestät der Natur und wie sie manchmal die einzigen Dinge sind, die sich wirklich real,
lebendig und atmend anfühlen.”

Survival depends on evolution. As conditions change and tides turn, we must change with them in order to stay one step ahead of the coming challenges. It’s clear that Fit For An Autopsy have embraced that mantra as they continue to perpetually evolve with each subsequent body of work. Not just blurring, but eradicating the lines between technical metal virtuosity, death metal menace, hardcore intensity, melodic insidiousness, and abstract approaches, the New Jersey band embody an uncompromising vision of their own.

The six-piece—Joseph Badolato vocals, Patrick Sheridan guitar, Timothy Howley guitar, Will Putney [guitar], Peter Blue Spinazola [bass], and Josean Orta Martinez [drums]—perfect this approach on their sixth full-length offering, Oh What The Future Holds [Nuclear Blast Records].

Fit For An Autopsy have never stopped moving forward though. Following their caustic 2011 debut The Process of Human Extermination, the group quietly carved out a place among extreme metal’s modern vanguard with their second LP Hellbound. Revolver cited 2015’s Absolute Hope Absolute Hell among “15 Essential Deathcore Albums.” And In the wake of The Great Collapse two years later, the band had truly created their own space in the realm of what could be described as “post-deathcore”. This ascent reached another level on the 2019 opus The Sea of Tragic Beasts. Widespread praise from the fans and press alike is all but too common for their refreshing approach to modern aggressive music both on record and in concert.

When the Global Pandemic changed everyone’s tour plans, Fit For An Autopsy dove into writing in spring 2020 and made the most of their time off the road.
“We had no real timeline, so we didn’t feel much pressure,” says Putney. “Once we realized touring wasn’t opening up, we decided to have fun with the process. I got to spend more time than I usually do on records. We definitely took some of the songs into new places because of that. It’s our longest album. We composed more than we ever have and it was a rewarding feeling to put real work into all these ideas.”

In early 2021, Fit For An Autopsy congregated in-person at Putney’s Graphic Nature Audio and recorded Oh What The Future Holds. Now, they introduce the album with the single “Far From Heaven.” Swirling as a perfect storm, airy guitar cuts through a pummeling percussive groove as melodic vocals slip into a guttural groan offset by neck-snapping riffs and powerful dynamics.
“The world we exist in is clearly “far from heaven”. Institutions are exploited, and people are taken advantage of. There’s a power struggle between those in control and those who aren’t. This is a fairly literal reflection on the world today.”

In the end, Fit For An Autopsy haven’t just personally evolved on Oh What The Future Holds; they’ve brought heavy music with them.

Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Alex Van Pelt writes songs for ghosts and broken hearts.

French multi-instrumentalist Alex started making music fifteen years ago when he was still a teenager, in bands such as Coming Soon, Mont Analogue, or as a guitarist for Sierra Manhattan, Norma, François Virot and Adam Green. But today he grows up and shows what he’s made of as a solo artist.

After his debut album Tum Tum (2019), in which he stated the basis of a rich and sensitive musical vocabulary made of DIY synth and post-romantic songs, he cultivates and confirms his originality with his new opus, Global Crush (out in November 2021). Words reverberates with sounds, and structures assumes ever shifting shapes : passed Global Crush’s melodic immediacy, one soon perceives a will to disrupt the conventional ground rules of pop music.

Like in a Kitano or Wong Kar Wai movie scene, Alex’s songs mix melancholy and humor. He has put together the intimate patchwork of Global Crush in a landscape painter fashion, and the result somehow works as a map to the artist's interests and influences (to name a few : the Everly Brothers’ breakup songs, Supertramp’s melodies, Daniel Clowes comics and video games ost such as Final Fantasy and the Sims).

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
 Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
 A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
 So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
 The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.

Swedish power trio MONOLORD return with their highly anticipated new album, Your Time to Shine. Recorded by MONOLORD drummer Esben Willems at Studio Berserk, Your Time to Shine sees the trio looking inward, cultivating the elements that take their monstrous, heavy riffing to new heights with a darker edge. A five-track journey that spans across crushing doom rock to more spacey, groove laden opuses, Your Time to Shine is MONOLORD at their most unfiltered and focused. Out of the gate, MONOLORD kick-off a wild ride with the soaring, fist-raising opener “The Weary” and its insanely catchy melodies. Elsewhere, the stop/start switch between sweetness and abrasiveness of “To Each Their Own” showcases a new element to the band’s repertoire. MONOLORD embraces the power of the riff with pulsating chugs on “I’ll Be Damned” and the mind-expanding title-track, whose final section brings back some of the band's spaced-out rock n’ roll beginnings. Everything culminates in their new epic, “The Siren Of Yersinia”, whose lonesome call can be heard in each feedback-ridden note and in each pained, buried vocal line. Your Time to Shine is yet another turn for MONOLORD. While the band clearly stays on “Riff Street”, they are poised to find darker avenues.