Metal

Beautiful digipak version of GRAFVITNIR’s old homage to the serpentine bloodline. Sparkling with all the brilliant light of the abyss and trickling with ancient Nordic cold.

A5-DIGIPACK CD, Deluxe 4-Panel Digipack, DVD-Sized, Strictly limited to 200 copies.Come out of the blue and lead by talented Alexander Torres, the US entity known as FLESHVESSEL belongs to those few, illuminated contemporary acts that don't fear to experiment with metal music, harmonizing it with other genres and mutating it into something entirely new without compromising its stylistic prerogatives or emotional connotations. In “Bile of Man Reborn”, the band's debut EP, the dark and slanted death metal of PHLEBOTOMIZED and DEMILICH often gives way to atmospheric parenthesis where a classical instrumentation of whistles, flute, viola, harp and keyboards embroiders rich textures of luminous elegance, celebrating the conciliation of the opposites.“Bile of Man Reborn” is one single 24-minute long track divided into three chapters, an impressive suite of mutant death metal where furious and scorching riffs, cavernous growls and sledgehammering drums are interwoven to jazz-fusion and progressive melodies. The first part of the track sounds as if FLESHVESSEL had dug up the putrefied cadaver of MAHAVISHNU ORCHESTRA for one last spiritual voyage of theirs, while the second chapter is a chamber music observation, with sparse notes of piano and wind instruments anticipating the return of devastating death metal guitars, engaged in powerful riffs or searing solos dissolving into delicate freak-folk arpeggios before a final crescendo of poignant beauty.As in Alexander Torres' own words, FLESHVESSEL's “Bile of Man Reborn” is “an exploration of the human condition and our infliction of duality upon the world. The music is representative of the confusion, suffering, and anger we all see and experience daily, but also the hope that still remains.

Official release on CD & limited LP of the unpublished 2nd album from '96, a truly rare recording by this legendary spanish Heavy Metal band formed in '84.

It is not about avoiding fear of the pitch-black darkness, but to go into the darkness itself. Even in the most primeval stages of their storied career, ENSLAVED was so much more than just music. Born on the outskirts of the infamous upheaval of teenage arsonists more commonly associated with a genre called Norwegian Black Metal, the Bergen based Vikings shared the inspiration and production ideals – yet steered clear of the non-musical dramas that have overshadowed so much of the artistic value from this movement. Shaking the very foundations of the young scene as early as 1993 with their iconic split release alongside fellow black wizards EMPEROR, they positively invented the term and art form Viking Metal with their icy monuments “Vikingligr Veldi” and, of course, the immortal splendor that is “Frost” and “Eld”. Never a sucker for stagnation, ENSLAVED explored uncharted progressive and psychedelic territories even back in the “grim nineties” – placing them in a unique position of both bearers of tradition as well as explorers into the unknown. Now, almost 30 years after changing the name of their adolescent death metal combo PHOBIA and advancing towards a more frostbitten and pagan black metal dirge, ENSLAVED has become a worldwide phenomenon, enthralling their listeners with music at once grim and sublime, effortlessly proving that it is indeed not a problem at all to sound like the sophisticated love child of KING CRIMSON and BATHORY.

It was time Enisum cleaned out their closet. When they finally decided to open it, a pile of material dating back to their early days turned up: those were the days when Enisum was still the solo, studio project of guitarist, singer and composer Lys. Here is everything Lys ever composed and recorded prior to the proper debut, Samoht Nara.

On their album "Hindsight", the American deathcore band brings Nu Metal back to deathcore. Exactly the genre that he himself has (co)created. What do you call that, incest? Whatever itŽs called, in the case of Frankie Palmeri and colleagues it works perfectly. The songs sound as if KORN or LIMP BIZKIT had half decayed, rotten and stinking, but mighty pissed off, risen from their graves. Emmure 2020Emmure 2020 Cool and sober The mood on "Hindsight" is groovy, but also freezing cold. EMMURE paint the most evil utopias and unfortunately they are not so wrong with that. Especially the fact that the sound has been stripped of any cuddliness makes EMMURE still relevant in 2020. Relentlessly pressing riffs, bass bombs and nagging that couldn't drool more pointedly. The band moves further and further away from usual structures, the guitars act aggressively-everywhere and the futristic brew sounds scary in the best sense. Over the borders and ahead of time The sound is often reminiscent of the feeling of falling asleep when you think you're about to fall asleep. When EMMURE then add up surfaces and weird child voices ("Pan"), the nightmares burn in even deeper. The further "Hindsight" progresses, the more offside EMMURE sounds. Many things may seem unfinished to the 08/15 listeners. Steaming compositions in this way is quite common with the greats (also of other genres) (FRANK OCEAN, CHILDISH GAMBINO, CODE ORANGE...). EMMURE have interpreted this trick excellently. One can be disturbed by the frequent and sometimes a bit too obvious bowing to KORN's Jonathan Davis. On the other hand, one wonders why it took so long for bands to adopt this schizo-weapon. Basically what EMMURE have done with "Hindsight" is far ahead of its time and very convincing.

Within the genre of heavy metal there can be an abundance of variation, color, texture and tone. There are many different shades and many different categories within that catch-all phrase. It's not all about throat ripping vocals or Neanderthal riffage. As many who are not drawn metal's immediate charms may perceive. Heavy music can encompass a whole panoply of sounds, moods and ambition. It can surround you with emotional elegance and distressing chaos. There can be subtleness, thoughtfulness and deep introspection even when things get exceptionally heavy. This is why NHS is thrilled to unveil our latest signing. We have partnered with 4 musically kindred spirits from Birmingham, Alabama, collectively known as EMBR. EMBR tick all the boxes overhead and beyond. EMBR already have 3 mighty EP's under their belt. '261' released in 2016. '271' released in 2017 and their last EP titled 326: Spiritual Dialysis' released in 2018. All 3 got them on the heavy underground radar. "punishingly heavy with sedated slowness on a level different that most doom out there." Metal Temple // "a heavy mixture of grunge, doom and stoner rock with a twinge of gothic style delivery" Outlaws Of The Sun // EMBR spent most of 2019 writing 7 new songs for '1823'. The album was recorded by Matt Washburn at Ledbelly Sound Studio (Mastodon, Royal Thunder) in Dawsonville Ga. The title '1823' has special significance. It's not just a numerical title, it has substance. Eric Bigelow (drummer) has been on the list for a kidney for around 4 years. Eric received a kidney transplant in May of 2019. This happened right in the middle of writing the album. The kidney was from a deceased donor and all Eric and Crystal Bigelow (singer and Eric's wife) know about the donor is that it was a young woman between the ages of 18-23. The album is dedicated to the donor and the surgeons at Vanderbilt hospital in Nashville TN. And what a fine tribute it is. Musically '1823' could be categorized as 'Doom'. However, on this debut it's obvious that EMBR have range, drive and a desire to add to the genre, to broaden it whilst staying true to its core fundamentals. Rest assured, the band have all the nuts and bolts in place. Mark Buchanan (guitar), Alan Light (bass) and Eric Bigelow (drums) keep everything tight and weighty. Massive drop-tuned guitars, chest rattling low end, pounding drums, fuzzy distortion, it's all there. But they also add in synths, a bit of grunge and alt rock flavors. The vocal talents of Crystal absolutely soar and strengthen the music. Her range, patterns and harmonies transport the band's music skyward. Crystal adds soul and an air of melancholia to the musical creations. If a pointer were needed, think Mastodon meets Witch Mountain with epic sweeps and a shade of gothic drama. Tracks like 'Prurient' and 'Where I've Been' combine thick heavy riffs with Crystal weaving through, powerful and epic, yet soulful and intimate. Musically, the bands core vibe is keep it slow and low' but EMBR aren't afraid to mix it up a bit. 'Stranger' takes it down, allowing Crystal's voice to float over the softer elements and riffs in an almost folk-like manner. 'Powder' channels throat ripping growls and soaring clean vocals in one loping relentless journey. 'Eyes Like Knives' , 'Your Burden' and 'Vines' are epic doom fests, drenched in gothic veils and dripping with thick distortion. The lyrics are deep and are usually written collectively by Crystal and Eric with one of them sometimes taking the reins on certain songs that they identify with. For instance, Powder is a song Eric wrote about past struggles and trying to power through them with relentless determination and positivity. Prurient was written by Crystal and initially was based on the 2016 movie THE BOY but also was inspired by her past experiences with a haunting figure in her life. The songs on 1823 are loud, brutally beautiful, aggressive, abrasive and at times atmospheric, uplifting and emotional. Welcome to the next chapter of EMBR

Drought is an entity spawned to channel its creators’ creative energy in a black metal form. The Tantric concept has been adopted to transform this energy into a tale of upheaval and elevation, using fire as a metaphor to celebrate spiritual transformation through cleansing, drawing purity from impurity. After a promising debut EP Drought fell into several years of silence, from which they will finally rise this spring to unleash their first full-length album, Trimurti .

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The vibrant history of Swedish Death Metal is now re-written once again with reunited Death Metal veterans DESULTORY creating one of the most anticipated and long-overdue releases of 2010. 14 years later and thronged with venomous hunger, “Counting Our Scars” is a tour de force of majestic soaring melodies and an incessant trauma of skull-hammer riffs that will crush and pulverize all imitators; an absolute reek of DESULTORY’s stench as we know it! Artwork and layout meticulously conceptualized by world-renowned introspect artist maestro Travis Smith (Nevermore, Opeth, Amorphis, King Diamond, etc). Recorded, mixed and mastered by Tore Stjerna at the acclaimed Necromorbus Studio (Watain, Deströyer 666, Demonical, etc). Now almost a decade later since DESULTORY’s imminent revival album “Counting Our Scars” comes a re-press edition in regular jewel case format; without doubt an essential in any extreme music collector’s library. With the band defunct once again, “Counting Our Scars” serves as a vital piece of Swedish Death Metal history with this glorious comeback record of 2011

Last year, DESTRUCTION played a breathtakingly good show at the German PARTYSAN festival. Fortunately, for everyone who wasn't able to attend, the thrash heroes recorded this metal party - and now, that the Covid-19 pandemic has crippled the whole live industry, the time has come to share this memory from a gorgeous show: DESTRUCTION release their live album "Born To Thrash - Live In Germany" as digital version on May, 8th! But that's not the end of the story: To make this memory a gem for all their loyal fans, the band launched an interactive map where they signed and marked the location of their first live concert with DESTRUCTION ever. The unique world map created this way will be part of the album. Everyone who participated will be mentioned by his name on a poster that comes with the album's physical version. This version will be released as CD and Vinl on July, 17th - strictly limited and a special collector's item

Dead Quiet's third album Truth and Ruin is a rich, melody-laden opus for fans of Deep Purple, The Sword, and Pallbearer. After a rigorous couple years of touring, Dead Quiet is ready to drop their third record, Truth and Ruin. Again teaming up with Artoffact Records, Truth and Ruin sees the addition of Mike Rosen to the band and proves that work ethic and chemistry can refine a band's sound to what they had always been striving for: heavy instrumentation combined with rich melody and uniquely personal lyricism.

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For 27 years CREMATION have stood for independent and uncompromising Death Metal from Switzerland. Stylistically, they lean on the American and Swedish icons of the late eighties and early nineties and thus create a contemporary and technical sound. Over the years the band has matured musically and developed without losing their identity and authenticity. The bands 5th album originally released in 2017, "In the Maelstrom of Time" makes a bold statement, old school death metal will never die.

Heavy Psych Sounds is really proud to announce a brand new series of split albums that will be called DOOM SESSIONS. We are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. This record you are holding is VOL. 1 - a split album with our doomy-sludge band Deadsmoke, that is premiering two brand new tracks "Dead Minds Army" and "Dethroned Concrete" featuring the UK heavy-riff masters Conan and their masterpiece "Beheaded". Cover design by Alan O'Neill.

The new album for Carthagods which were one of the first metal bands to establish themselves in the late 1990s in Tunisia! - The band toured all over Europe with such renowned acts as Judas Priest, Slayer, Blind Guardian and Anathema and thus gained a steadily growing fan base. The new album was created under the aegis of Mika Jussila (Nightwish, HIM, Stratovarius). As guest singers are represented: Mikael Stanne (Dark Tranquillity) and Mark Jansen (Epica). Thus Carthagods with their new songs present themselves more powerful and at the same time more symphonic than before.