Two polish bands on one vinyl!
Parricide over 20 years on stage and 20 years experience of making noise! Brutal death/grind!
Kill At Command is young rising band debuting with fresh crust/punk material that will surely kick some asses.
This is a special release from The Party of Helicopters. "Space... and how sweet it was" is a blend of sinister beauty and pop hooks layered with lush vocal harmonies with keyboards added for good measure. It combines the sweet soul of soaring pop vocals with the dark forces of death metal guitar solos and choppy rhythmic clatter. It is an epic orgy of evil themes and narcodelic beauty! The Party of Helicopters have always made it a point to combine their individual eclectic and varied tastes to create a hybrid of metal, punk and pop for a sound that is truly original.These songs are the finest recordings by The Party of Helicopters so far, and truly captures the emotional intensity of their live performance. This is truly one of the most original sounding bands you will hear this year.
HARDCORE. More than 3 1/2 years after "deathinteresse" was unleashed on the hardcore-punk crowd, PATSY O'HARA have returned with their 2nd full-length, "...sings the bourgeois blues". It has everything the genre has to offer in one powerful set of 11 songs (nearly 48min.). Nothing sounds stale and they have their own distinct sound while building off the ideas of the music they love to listen to. "...sings the bourgeois blues" is a huge improvement on every level, with the group's hybrid mix of upbeat hardcore, punk, post-rock and good old fashioned rock 'n' roll - melting together to near perfection throughout their latest effort. The quintet puts on a riveting spectacle, with beatific swells of atmospheric and rocking hardcore - over the top, epic intertwined guitars - beautiful groovy bass lines - galloping, punchy drum patterns - demented, raspy screaming vocals. The band knows how to effectively build up a song, tension that mounts to a breaking point. It leads to many exciting moments, as the boiling point tips over, leading to an explosion of aggression. PATSY O'HARA switches off between fast-paced death 'n’ roll mayhem and slower mini-epics. There are also various interludes that move along the album. Recorded and mixed at the mighty Tonmeisterei, the production is full and lush. This, along with the fantastic dynamics between all the band members and the compelling songwriting, makes for a successful sophomore album. Thick 180gr vinyl comes with an outstanding and eyecatching gatefold-sleeve with reverse side printings, black innersleeve and includes a digital download card. Not sure, but the point remains that this release is a killer - so stop reading and pick it up right away!
"Catchy German shits in the classic Deutschpunk vein, amped up appropriately for the new millennium. Zuviel Hoffnung is full of potential classics, and I’m sure even more for those who sprechen, with leads and hooks galore all delivered with a subdy dark edge. Recommended for future listens"
Mastered by Jack Control at Enormous Door
180 grams black vinyl
Dutch Death Metal legends Pestilence are back!
The start of Pestilence took place in the area of the Dutch/German border (Enschede) in 1986 and Pestilence started as a 3-piece Thrash Metal band. Pestilence released their debut album, "Malleus Maleficarum", in 1988, further refining their approach to thrash metal, and becoming leading in the genre, being seen as one of the most intense and brutal bands. In 1989 released their second album, "Consuming Impulse", a big turn towards the then buzzing Death Metal scene. With its release, Pestilence gained international attention and became highly regarded worldwide by death metal fans. So while recording their third album "Testimony of the Ancients", they enlisted bassist Tony Choy, who at the time was playing with the technical death metal band Cynic and Patrick Mameli took over the vocal duties and released the classic Death Metal album "Testimony of the Ancients". The band’s fourth album, "Spheres" was released in 1993. Pestilence started to mix jazz fusion elements into their Death Metal style, and used guitar synths throughout the album. Looking back it was just too far ahead of its time. So after a short period of time, the band unanimously decided to split up, feeling they had reached their creative climax.
A long period of inactivity ended in January 2008, when vocalist/guitarist Patrick Mameli told the Metal press that Pestilence were back. In 2008, Pestilence decided to write and record new music for an early 2009 titled "Resurrection Macabre". The reformed Pestilence released another album entitled "Doctrine" in April 2011. Shortly after Patrick Mameli announced that Stephan Fimmers (Necrophagist) and Tim Yeung (Morbid Angel, Hate Eternal) joined. The new two members were also included in the recording session of the seventh Pestilence album, "Obsideo". Patrick moved away from the albums most cherished by the fans "Consuming Impulse" and "Testimony of the Ancients". In 2014, vocalist/guitarist Patrick Mameli announced that Pestilence was on a "permanent hold". It seemed for now the Pestilence book was fully written and closed and he was on his way to do other forms of innovative, extreme Metal.
Early 2017 Hammerheart Records owner Guido Heijnens and Patrick Mameli has several very constructive meetings and decided to give the whole Pestilence history a glorious kick in the ass. The catalogue was taken under some serious re-construction ideas, fully reworking the classic four so-called Roadrunner albums, for deluxe re-issue on 2-CD and on high quality vinyl in top sounding quality, also leading to the idea to present the fans their ultimate wet dream, an old school set list for 2018.
Pestilence had extremely strong material ready and recorded a full new album titled "Hadeon" in Spacelab Studios in Germany in the Summer of 2017. This album will be released March 2018, as a follow up to the promised old school tour across Europe in January/February 2018. This album is in a way the return to the, by many fans, desired return to the old school of Death Metal, but obviously Mameli will not just duplicate, there is still that fresh and progressive touch. "Hadeon" is the return to form album, this is the album that could have been the follow-up to "Testimony of the Ancients", a return to old school Death Metal, but of course with some innovation going on.
Black 180 gram quality vinyl.
The 4th album by Dutch Death Metal legends Pestilence gets a well deserved re-issue!
"Spheres", the fourth and final album by the original lineup of Dutch death metal legends Pestilence, is one of the most criminally misunderstood and underrated albums in the history of (extreme) metal. Largely reviled at the time of release, the bad reaction was demoralizing enough for mainman Patrick Mameli to split up the band and keep it on ice for around fifteen years. In the typical fashion of idiot trendy music journalists and fickle metal listeners to not recognize something groundbreaking for what it is until well after the fact, "Spheres" has been given something of a critical re-appraisal the last few years. One could actually claim it is a a direct source of inspiration for many progressive extreme(r) Metal band these days.
The early 90s was a time of enormous change in death metal. The basic formula wasn’t cutting it anymore, and many bands began to branch out into strange new territories. Death did it, Atheist did it too. so did Cynic, and of course, so did Pestilence. 1991’s "Testimony of the Ancients" had already displayed a noticeable shift in style for the band. The songwriting became much more technical, and also more open to the use of textures and atmosphere. It was one of the most impressive albums of its era, yet the change wasn’t quite obvious enough to alienate hardcore death metal fans just yet.
Of course, 1993 was a prime year for groundbreaking death metal with albums such as Death’s "Individual Thought Patterns" and Cynic’s "Focus" blowing minds left and right we imagine. Although "Spheres" is not as stunningly intricate as either of those albums are, it is arguably the most unusual. The actual songwriting is largely quite straightforward, with basic and easy to follow layouts. The strangeness mainly comes from the bizarre riffing and Mameli’s ever more demented soloing, and the guitar synths.
This should have been the album to take Pestilence over the horizon, but sadly it wasn’t to be. The predictable reaction of a lot of the band’s fanbase saw to that. For many back then, Pestilence ended with "Spheres", but this is an album that will give you endless enjoyment if you are open to it.
Eight years after No Love For A Nation the german spearhead of Chaos-Punk is back with its third full-length album. Angry and aggressive as usual PESTPOCKEN blast 13 new, politically unambiguous songs into this sick world. And these are real ripsnorters: Sometimes brute, sometimes anthemic, technical versed and well produced, the lyrics in german and english language reflect the band’s history, are dedicated to the historical (Battle Of Cable Street) as well as the contemporary (Rojava Revolution) resistance, talk about the racism against refugees, approach the neoliberal alienated individual or clearify the relationship to state and police. The message couldn’t be more accurate in times of escalating global crises ot the capitalist system: Another world is not only necessary but also possible. Also after more than 20 years these five Punx from Gießen know how to communicate it convincing like an unerring fisticuff. The LP comes in two different variations: As limited Picture LP or on red splattered vinyl. Includes download code.
Old hardness meets new tones! In 2012 the Giessen-based band presented their musically strongest and most diverse album to date. Influences from 82er German punk to rough crust and hardcore and melodic streetpunk together with one female and two male voices resulted in an explosive mixture. The first-class production (Chaos AD Studio) and the subversive, dark design underline the enormous development of PESTPOCKEN successfully. Now the sold-out album has been re-released as a picture LP.
"With this second full-length, Poitiers' THE PHANTOM CARRIAGE annihilate the remaining boundaries between black metal and dark hardcore. This time focusing on the most extreme side of their sound, "Falls" brings the band's unique approach to the next level, invoking reminiscences of various acts such as Deathspell Omega, Cave In, Comity, Deafheaven or Kickback. Songs such as "Dreamers Will Never Stop Dreaming" or "Today We Stand" reveal how much the band has improved their songwriting abilities, burying the listener under piles of epic & technical riffs, labyrinthic structures and unearthly vocals. By throwing into their chaos some more unorthodox influences they gained from their other past and actual experiences, THE PHANTOM CARRIAGE prove that they are digging deeper than your average "blackened hardcore" band. And they will take you with them."
green transparent vinyl
'Mass & Volume' was written and recorded during the final day of the 'Phantom Limb' sessions with unexpected extra studio time and resources. In the following years, with 'Natasha' being released on its own and Brian no longer being in the band, Pig Destroyer's intentions of releasing 'Mass & Volume' basically evaporated. However, looking back now, 'Mass & Volume' serves as a great epilogue to that particular era of the band.
Is this the US in early 80s or Switzerland in 2020? Relentless hardcore that brings in mind early Black Flag, Stalag 13, Necros,… as well as bits of Poison Idea and Tragedy. No frills, no fancy production, just straightforward HC/Punk that sounds as menacing as it´s angry. From ex members of Bad Mojos, Raptus Di Follia, Positive Impact, Strapones,…
This French wrecking crew’s debut full-length, À Nos Morts (To Our Dead), offers up eleven tracks of cruel, carcinogenic deathgrind with a distinct hardcore influence, all caked in a concrete slab of still-smouldering, charcoal-black crust. À Nos Morts isn’t a record; it’s a nullifying cloud of acid raid, a snarling, drooling force of nature with a vice-like jaw and pants-shittingly large fangs, unleashed from the penetralia of Hell, a place so deep and dark that Satan doesn’t even dare venture there. It’s about as close to perfect as a band’s first album can get.
"Kingmaker" is the debut album from Pine Barrens, following on from a very well-received demo that came out in 2010. Pine Barrens efficiently fuse hardcore punk to black metal, among other things, to create an intense and surprisingly catchy experience. For those that care, the band features current and ex-members of Beecher, Atavist, Extinction of Mankind, The Ergon Carousel and Hammers.
New record after many years of silence by this amazing dark punk combo from Italy. 12 great new songs 100% inspired by Nerorgasmo, T.S.O.L., D.I. and Misfits. Great lyrics full of despair, hate and hopelessness. Available also red vinyl limited edition!
(old) scene activists, well know from bands like AnusPraeter, Brächreiz, Todschicker and the radio show DISHARMONCxNOISExCONSPIRACY deliver oldschool Death Metal / Grindcore in the vein of TERRORIZER, ASSÜCK, NAPALM DEATH
The members of Playing Enemy certainly have an impressive resume of musical ventures in which they have been previously involved: Rorschach, Kiss it Goodbye, Deadguy, Undertow, and Nineironspitfire among others. But rather than re-hash sounds and styles characteristic of those projects, Playing Enemy, instead ventured down a different path in the hardcore/metal realm.
The Seattle-based band first hit the scene in 2000 with their debut release, Cesarean, which was a blend of chaotic yet methodical hardcore and math-metal. The band followed with Ephemera in 2003, further defining their style with their unconventional song structures. This brings us to their newest LP, I Was Your City, their first for upstart label Hawthorne Street Records.
Following the brooding and building intro track "Cancer," the album kicks in typical Playing Enemy form with the track "Jade." The song is best described as calculated chaos - think of "dirtier" version of Botch and you're along the right track. Andrew Gormley's drumming abilities certainly haven't suffered over the years. Rather than relying on traditional drum fills and the ol' double bass, he works the entire kit and quite proficiently.
The band continues to surge through song after song of their unique blend of metal, hardcore, and noise - fully executing the talents of all its members. In particular, bassist Shane Mehling's playing can be heard throughout the entire length of every track. This is somewhat of an anomaly in music of this genre; normally the bass is buried so deep in the mix to hide the bassist's lack of skill. This is not the case here; a pleasant surprise indeed.
The trio, rounded out by guitarist / vocalist Demiam Johnston, does take time to venture away from their stereotypical sound from time to time, something that helps distinguish the band from its peers. Take the track "The End of Something," for example. The majority of the song is made up of cathartic and moody guitar riffs while Johnston screams out passionate lyrics like "I need you... / I'm not telling / This time I'm asking / Please hear me / I want our old life back / I'm so fucking crazed to be so alone in life." The lyrics get even darker and more cryptic towards the end of the song - definitely some deep and personal content.
The band obviously returns to what they do best for the remainder of the album. Another highpoint toward the end of the album is "Angels in a Trailer." There are some excellent and very unique drum fills over the course of the song, not to mention the sweet-ass on/off guitar time-signatures used in the later portion of the song.
I Was Your City is easily Playing Enemy's best album yet, the band has yet again found a way to evolve their signature style into something more captivating that before. It takes great talent to continue to evolve as a band to gather new listeners yet be able to keep your old fans interested. Playing Enemy certainly has that talent, but unless you're a complete dweeb you already knew that.
8.0 / 10 — Michael / Scenepointblank
The Processian brothers humbly submit their definitive epistle, an end to clamour and a route to sustenation for those eager to transcend the lumpen, meagre fetters of Earthly existence. Titan awaits the birth of the red giant, preparing for colonisation. Helios sates his voracious appetite evolving unto nebula. Entropy is inevitable, auguring destruction, predicating reconstitution. Pax Vobiscum, brethren of the Golden Stone, your journey nears conclusion. Rosicrucian fraternity, knowers of veracity, seekers of perfection. Occultus mastery, ancient cognition, draw up and rubricate the Covenant of the Cosmos, the Hermetic binding, for we are all stars. Entwined in the waltz of the Universe, now beating in time, restored. Sol Invictus! As above, so below, the endlessly victorious fire of Surya, the burning eyes, Saturnalia, let the bounties of the Earth be plentiful to those who listen to this treatise. Behold! Kaamos is banished! Hail the everlasting Sun! The posthumous album from Scotland's purveyors of Illuminati influenced holy terror. Features ex-members of Shank, Scatha and In Decades Decline.
This is a solid crusty d-beat-punk record on Rising Riot Records. Profit And Murder released a nice 7" in the past. This is the second output of the old crustys (members of World Chaos and Hellhaak) from Bremen and well, the 7" was real good and this LP is the tangible continuation of it. You get 10 typical boisterous and aggressive d-beat-crust-titles in a great noisy and raw sound. We really waited a long period for this record, but now it finally arrived and the waiting was real worthwhile. Dear crust-fans with fancy, political patches all over your cloths, this one is for you. Songs like '88 Reasons To Hate You' or 'Botox Zombies' are the accomplished soundtrack for long, wet and beloved squadnights. Lyrics are fierce, political and personal, just how it has to be for a proper disbeat-record.
blackened pink marbled (Marbled) Vinyl
This split marks the long awaited third vinyl release of crusty North East UK hardcore oinks Prolefeed, written immediately following 2015s ear pummeling split with War All The Time. The fact that this was recorded and mixed in a single day speaks to the raw speed and agression on display and the ten tracks blitz past within 13 mins.
This is drummer Rob Woodcock’s final release with the band but he goes out on a high, bullying the snare through relentless thrashing d-beats and rapid, clattering fills. This whole side buzzes with a screaming treble-strung intesity to the production, and a suprising (for those unfamiliar with the band) clarity to the instrumentals. The bass in particular has a very clear tone, Dan's fantastic, lighning fast runs cutting through the tradtitionally crusty buzzsaw guitar for some stand out moments of musicianship, running counter to the abrasive vocal screams of frontman Dickie (also of Sawn Off).
Ten rapid fire songs with signature caustic guitar riffs, blitzkrieg basslines and Melvinsesque drumming, this isn’t your average hardcore record.
Quickly following up their debut "Den förstörda människans rike", Henry Kane provides 9 minutes of punishing one-man Swedish Swedeath grindcore. Following the same path of audial terror. Henry Kane is the solo effort of Johnny Pettersson of Wombbath, Ashcloud, Gods Forsaken and dozens of other nightmare inducing death metal bands. Recorded, mixed and mastered at Studio Unbound, you could be forgiven for thinking this side of the split was a previously unreleased Rotten Sound effort. Absolutely relentless clinical blast beats and ear shattering chainsaw guitar sounds argue with throat shredding vocals here.
These five tracks have no time for pretension, no prog moments of atmosphere or technical peacocking. The only atmosphere is that of a dense cloud of gain, the only technicality the speed of the performence. Proper blasting grind!
Art by Prolefeed bassist Daniel Hughes in response to a wave of religious violence and thoughtless hatred perpetuated by the media. Fuck religious violence//Fuck religious hate. The Mass Forfeiture of Collective Responsibility comes with a wrap around 2 foot poster and is released on the 13th October via WOOAAARGH & Goatshead Records!
New release by Protestant! It's a bit strange that a number of recent crust-influenced hardcore bands call Milwaukee home; it's not like it's dirtier than any other major city. Following Enabler's catchy, crust-influenced 2012 release, All Hail the Void, their Milwaukee brethren in Protestant have unleashed Reclamation. While Enabler took a more metallic route, Protestant have stuck much closer to the norms of crust. However, the band take the melodicism present in From Ashes Rise and Tragedy and turn it up to 11, causing them to fall short of the aggression of genre pioneers Amebix or later flag bearers (and Tragedy precursor) His Hero is Gone.
It was only a matter of time travel before this became inevitable. Coincidences of space-time anomalies and political outrage have led to a split LP between these two one man bands created by the same person. On this release, the two bands have opposite approaches to extreme music - progressive and regressive.
If PSUDOKU's previous album “Deep Space Psudokument” had a third side, this would be it. On Report From the 10th Dimension, futuristic 70s progressive grind is once again consolidated with surf rock and electronic classical. Prepare for raging interstellar speed and dense musical information overload. For fans of NETJAJEV SOCIETY SYSTEM, O.L.D., BAL-SAGOTH and MAGMA.
The PARLAMENTARISK SODOMI side is entitled Demo 2018 and is the first PS demo since 2007. This is 11 crude, straightforward and fast hc/grind/noise tunes partially recorded on cassette. For fans of SIEGE, RUPTURE, DENAK and ULCERRHOEA.
Breaking the chains and strengthening the bonds worldwide, a split that came together through our Russian tour and Dropdead Ben's US suggestions.
12" black vinyl split of international disharmony, Emissaries of Syn (Wales, UK) the not-so-much-peacekeepers between MxAxMxA (Moscow, Russia) and Psycho (Boston, U.S.A). 15 tracks of glorious grind worldwide, limited to 300 copies.
Third full full-length album of Italian avantmetal-jazzgrind masters PSYCHOFAGIST.
The album is entitled “Songs of Faint and Distortion” and it has been produced with enlarged squad thanx to the collaboration with patriarchs of industrial/powerelectronics Napalmed.
Not a split album, no re-mixes: it's a clash of different ways to conceive the most extreme audio deviations.
THE SLUDGE LORD ABOUT THIS ALBUM:
"The Psyke Project is a band that are brutal as they come. Their brilliant new album - Guillotine - is a masterclass of extreme metal. Blending Black Metal, Post-Metal, Sludge and Hardcore into something rather sinister that will leave you on edge through out the entire album. The Psyke Project have the key to your worst fucking nightmares coming to life. They play brutal based riffs right from the start. The despair and torment never lets up as these guys are masters of the darkness lurking through us all.
First track - Guillotine - will prove what a great band The Psyke Project actually are. Blending intense riffs with nightmarish vocals to scare the living hell out of anyone. This is music for all us dark souls out there. It's the perfect soundtrack for all doom and gloom merchants. If you want something sinister and terrifying in your life then this is it. The Psyke Project play on your worst fears and bring them to life through the power of their dark music. And I loved every terrifying second of it. This is some of the harshest Post-Metal/Sludge Metal riffs I have heard in some time. The Psyke Project venture into places other bands don't even dare to goto. If Lucifer ever had a voice then it would match the eerie tones of vocalist Martin. He is a man possessed. No one can stop him. Would anyone feel brave enough to. The Psyke Project have released an album of such breathtaking brutality that one listen is never enough. Just take a long rest before listening to this brilliant album again. As you need some time to recover of the bleak carnage held on this heavy and fucked up album. A true masterclass of extreme metal. No question!!!
Following the tradition of the split with DARKENED NOCTURN SLAUGHTERCULT, here´s the next Split of PURGATORY, this time with their brothers in arms LIE IN RUINS, a Finnish death metal band.
Ultra clear vinyl, side B printed with an elaborate design, housed in a black cover folder made of linen structure paper. Limited edition of 350 copies incl. consecrated host for all true believers.
01 Dawn Of Chaos (LIE IN RUINS)
02 Mother Of All Abominations (LIE IN RUINS)
03 In Damnation Eternal (PURGATORY)
04 Fire To The Icons (PURGATORY)
At war with false noise: Having only just recently done an (albeit great) LP with Amarok I was a little bit reticent to do another so quickly, but when I heard this track I was pretty blown away and knew I had to go for it! On this side Amarok have a total Saint Vitus "Walking Dead" guitar sound - ultra thick and dirgey - but they combine this with a kinda of hardcore and metal intensity that new wave sludge/HC bands like Cough and Thou eschew so well. Three vocalists give a really extreme multi-layered screaming assault and there's most definitely a keen ear for a nice metal guitar line in there. Heavy duty stuff and as good as the often dull sludge genre gets.
Swedes Pyramido impressed me loads with their demo and first two albums (both available on Total Rust and I still have copies of "Sand"), their distinctive heavily-distorted, sub-psychedelic sludge doom stood apart from a quite frankly over-crowded marketplace. There's a definite dry crust/hardcore sound to this that brings to mind Eyehategod or maybe even a less melodious early Crowbar. Top notch!
500 copies: 400 black and 100 brown. Black vinyl only left. Heavy gloss sleeves with heavyweight double-sided lyric inner and a 24x12" poster.