Metal

6-piece avantgarde extreme metal band from Zory, Poland, formed for more than 20 years in 1993. "No Way Out" is the band's 6th album and debut on ToT records. Professional done video available before the release date. Full world-wide promo campaign, promo pack reached out to important physical and digital media in the scene. Shared stage with bands like Behemoth, Kampfar, Furia, etc. Released in 6pp deluxe digipak with epic artwork and 16 page booklet. FOR FANS OF: Enslaved, Arcturus... Always changing, always evolving. Poland has long been at the forefront of the extreme metal scene, and Eternal Deformity have been testing its limits since the mid 90s. From the doom- and Gothic-slanted leanings of their early material to the circus-themed nightmare of Frozen Circus and sympho-blackened traits of The Beauty Of Chaos, this group have drawn from the widest of infuences in their continual search for new boundaries. To quote vocalist Przemyslaw Kajnat on their sound: "Some people tried to describe it as "art death" or "prog gothic metal". These opinions display both the variety of our ways of expression and the great number of sources that inspire us in the process of creation. However, the musicians have never forgotten about their roots."Artistic yet extreme, Eternal Deformity's new album No Way Out is in some ways a blend of the elements above, but this is no retread. The sound is as fresh as ever, with Kajnat delivering a range of demented blackened snarls and Arcturian cleans. "Esoteric Manifesto" opens with an almighty stomp before later swirling in a maelstrom of bombastic keyboards and technical guitar work, while "Mimes And Ghouls" recalls some of that carnival atmosphere and "Glacier" is a grand finale for No Way Out, as the band wind down into frozen wastelands Record Label: Temple Of Torturous Style: Metal

Enslaved releases “The Sleeping Gods - Thorn”; a full-length album comprised of rare material from 2010/2011. For the first time this unique collection of experimental material, also connecting with their early roots, is available as an album. “The Sleeping Gods – Thorn” will mark the conclusion of Enslaved’s 25th anniversary year. Costin Chioreanu of Twilight 13 Media (Roadburn Festival, Opeth, Darkthrone, At The Gates, etc.) did the beautiful new layout, including mesmerizing new illustrations, displaying a unique symbiosis between two of our times’ most exciting visual and sonic artists. The songs originally appeared on extremely limited EPs between the full-length albums “Axioma Ethica Odini” and “Riitiir”, and is recorded both in Solslottet Studio in Bergen, as well as the band member’s own studios and partly in the deep woods of Valevaag on the south-west coast of Norway. Like the songs itself, the production is a mix of old and new; high tech and no-tech – a mix of concepts that has been essential in achieving the signature sound Enslaved is famous for today. Ivar Bjørnson and Grutle Kjellson from Enslaved co-produced the material together with long-time collaborator Iver Sandøy. The album has lyrics sung in both Norwegian, English and Old Norse, and the theme centres on mythology and the esoteric side of the runes; as well as contrasting the Norse Ways as a polytheistic belief system to the monotheistic plague of the Big World Religions. The music nods respectfully to the wildly varying deities that make up the pantheon of inspiration for Enslaved, both “then” and “now”. There are traces of both proto-black metal of Bathory, the classic Rock and Heavy Metal of the 70s and 80s, the synthisized and sequenced masters of the 70s, prog-rock, world/ Norse folk music, Norwegian Black Metal of the 90s, modern classical music, goth rock a la Fields of the Nephilim and much more. Enslaved was formed in 1991 by Ivar Bjørnson and Grutle Kjellson, and did their first demo “Yggdrasill” in the summer of 1992, while the legendary mini-album “Hordanes Land” was released the year after in 1993. “Vikingligr Veldi” came in the spring of 1994 and is Enslaved’s landmark debut album. Since then the band has released another 12 studio-albums, the latest being “In Times” in 2015 – they have won 4 Norwegian Grammys and toured Europe, the Americas, Asia and Australia with growing success for over two decades Record Label: By Norse Music Style: Metal

Pink Floyd cover band ECHOES presents Floyd songs in acoustic sounddress. Highly recommended! Record Label: Pride & Joy Music Style: Rock

Record Label: Pure Steel Style: Metal

Record Label: Recordjet Style: Pop

Imagine Killswitch Engage at their heaviest, with the immediately recognizable guitar playing of Adam Dutkiewicz, the precision drumming of former The Black Dahlia Murder member Shannon Lucas, and the legendary death metal growl of Cannibal Corpse's George Corpsegrinder Fisher - the result is Serpentine Dominion. After 7 years in the making, this highly anticipated project will finally be releasing their self-titled debut on October 28th via Metal Blade Records. The origins of Serpentine Dominion can be traced back to 2009's Rockstar Energy Drink Mayhem Festival, which boasted a line-up that included Killswitch Engage, Cannibal Corpse, and The Black Dahlia Murder. During that fateful summer, Killswitch Engage guitarist Adam Dutkiewicz made a proposition to Cannibal Corpse vocalist George Corpsegrinder Fisher: George, I want to write you a record. On the Mayhem Fest tour, Shannon Lucas, who performed with The Black Dahlia Murder through 2012, was tapped to record drums on the album. Between 2009 and 2016, Cannibal Corpse and Killswitch Engage released three albums each, so scheduling time to work on Serpentine Dominion was no easy feat - but when their rigorous schedules allowed, Serpentine Dominion began to come together, with Killswitch Engage vocalist Jesse Leach penning the lyrics, which touch on corruption within the government, religion, big business, and other timely issues. Ultimately, though, this debut is a pure passion project; it was written and recorded simply for why musicians get into music in the first place: fun. Record Label: Metal Blade Style: Death Metal

Secretly Canadian is honored to partner with Chimera Music on releasing Yoko Ono's musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project's focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades. Secretly Canadian and Chimera Music couldn't be more proud to be a part of re-introducing Yoko Ono's seminal work. The first batch to be reissued will be 1968's Unfinished Music No. 1: Two Virgins, 1969's Unfinished Music No. 2: Life With The Lions, and 1970's Plastic Ono Band. If Two Virgins is the ecstatic first kiss shared between two of pop culture's greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of Our life and our love is our art - every nitty, gritty part of it. The collection begins with a more straightforward - at least in terms of explaining what it is - piece of improvised music, edited down from live performance at Cambridge University's Lady Mitchell Hall in March 1969. The entirety of Side B was recorded in a patient suite at London's Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child, John Ono Lennon II. The album cover photo was taken in the suite, with Ono in her hospital bed and Lennon in a sleeping bag made up on the floor next to her, both of them looking exhausted from the process. Secretly Canadian's reissue also includes Ono's Song for John and Mulberry, which did not appear on the original release. Record Label: Secretly Canadian Style: Avantgarde

Dope are back with their first studio output since 2009 Record Label: Steamhammer Style: Rock / Metal

Have Guitar Will Travel is the third studio album by rock and roll pioneer and blues icon Bo Diddley. It was released on the Checker Records label in 1960. Record Label: Goodfellas / Cornbread Style: Rock & Roll

Everyone knows I love Swedish hardcore and no one does it better than Skitsystem from Gothenburg. This second full-length follows up on the head crushing sounds of their first LP Gra Varld Svarta Tankar. This is a scathing steamroller of pure Scandinavian hardcore power. Combine the raw thrashing power of early 80's bands like Anti-Cimex, Asocial, Crude SS and Crudity with the ferocity and anger of modern day crust core with some brutal production by Mieszko of Nasum and you begin to feel the weight of the power of Skitsystem. Record Label: Power It Up Style: Grindcore

Finally available on CD this release compiles all the out of print early Skitsystem material. The essential early recordings from 1995-1998 are here, the Profithysteri 7, split 7 with Wolfpack and the Ondskans Askinte 10. These are the most raw and brutal Skitsystem recordings in the classic 80's Swedish hardcore tradition of Anti Cimex, Crude SS, Asocial and Avskum with just a hint of black/death metal influence. Record Label: Power It Up Style: Grindcore

Robert Pehrsson (born 13th of December 1975) is currently one of the most talented Swedish rock guitarists. Furthermore, he is an outstanding songwriter as well. It's only a matter of time until a broader (rock) audience will recognize him as what he is: a star in the making. Robert Pehrsson has worked for such diverse bands such as Runemagick, Thunder Express, Death Breath, Dundertåget, Imperial State Electric, Slingblade and also Dagger. He picked up his guitar in 1987 and started a (professional) career in 1994 (at the time concentrating mainly on playing extreme music like thrash and early death metal). In 2013, his debut longplayer under the name of Robert Pehrsson's Humbucker was released (via High Roller Records). It was a perfect example for a contemporary classic rock album, landing the Swedish guitarist extraordinaire the album of the month award in Germany's leading independent metal magazine Rock Hard. No wonder then that expectations for the follow-up album Long Way To The Light are sky high. The record contains eight brand new compositions (plus a re-worked version of the single The Hollow In A Rising Tone). With songs such as Send Her My Love or Traveling Through The Dark Robert Pehrsson's Humbucker carry on where they have left off with the captivating debut album – albeit with even slicker guitar playing and sharper song arrangements. I put so much pressure on myself so I got enough to deal with already, comments Robert Pehrsson on the expectations surrounding the release of Long Way To The Light. The main thing is to not disappoint myself and to know in the end that I did the best I could. I was sincerely happy both for High Roller and of course for myself with the great reviews on the previous album. I think the new album is stronger, but in the end, it's up to the listener and that I have no control over. Listening to Long Way To The Light for the first time, one might get the impression that overall it's a slightly poppier record compared to the debut. It might be, reflects Robert Pehrsson. But it's not really intentional. I like the songs short and to the point with a strong hook. That's what I strive for always. I think people sometimes put us in the same category as more hard rocking bands and we're not really that type of band in the end. I want the freedom to do other styles as well. If I look at the old bands, I like that they were all very diverse, not playing on 10 all the time. D'accord, diversity in songwriting has always been the forté of Robert Pehrsson's Humbucker. But in the past, for some, this has been a dangerous road, if you look at Phil Lynott's solo album Solo In Soho, which for some is, well, a total mess. I actually like a lot of that album, confesses the Swedish guitarist. But maybe it was wise to do it as a solo album. I'm not scared to try different approaches to both writing and recording and I think it's possible to paint with a wide brush and still be true to the overall sound of the band. I'm not talking about rocket science here and we record in a very old school fashion. But there are so many different ways to approach things and I am intrigued with these things. I'm interested in the craft of songwriting and recording. This approach shows on each of the nine tracks of the record. So nine songs once more (just like on the debut platter), that must be the lucky number for Robert Pehrsson indeed. I guess so, he laughs. There was more material written and recorded, but I was not 100% happy with how some of the songs came together so I've put them on hold for another day. I don't want any filler material and I don't like albums that go on forever personally. Sometimes we are limited as performers. I wrote some material for this album that I was really excited about, but I just could not make it sound right this time around. I listen to lots of different music and I would like the band to be able to do diverse material. The biggest difference is that we have played live since the first album, comments Robert Pehrsson on the main differences between the first album and Long Way To The Light. My approach for the writing was not that different, but I kept in mind that I want do be able to perform the songs live in their true form. I also co-worked with Joseph Tholl, Nicke Andersson and Andreas Axelsson on some tracks. So I think there is more of a band feeling to this one compared to the first album. And that was something I wanted from the beginning when I started working on this album. Robert Pehrsson's Humbucker have played around 40 live shows since the debut album, so the line-up is starting to gel. Robert Pehrsson: Long Way To The Light has been recorded mostly by me and Nicke Anderssons (drums and bass). Joseph Tholl has also been involved a lot. I really like recording with these guys. But a lot of the players on the previous also appear on this. The live line-up has been Joseph Tholl, Jakob Ljungberg and Jens Lagergren, and they all appear on the album. It's a mixture of really talented friends from other bands: Enforcer, Imperial State Electric, The Hellacopters, Tribulation etc... We tend to do a lot of stuff together. Here's some names: Robert Eriksson, Jonas Wikstrand, Johan Bäckman, Johannes Borgström. The list goes on! Maybe Robert Pehrsson is indeed one the last great guitarist in the tradition of Ritchie Blackmore, Michael Schenker, Jimmy Page and Scott Gorham. But then again Long Way To The Light is not a guitar-driven record per se. So what comes first for the Swedish guitarist exytraordinaire, the song or the guitar performance? Robert Pehrsson: Thanks! The song is always first. I see it the same way playing live. I want us, as a band, to play together and be a strong unit. It's not about individual performances at all. I do, however, think there is quite a lot of guitar playing, but there is no room for unnecessary flash in the songs. I want the listener to feel that the solo is an integral part of the song and not just there for me to show off. My main goal is to create a solo that you can and would want to hum along to. There are lots of great songs on the album, for example Zero Emotion. It's some kind of a love song, correct? It's more of a breakup song, laughs Robert Pehrsson. And how you sometimes end up dealing with things like that. A lot of the lyrics are about losing loved ones in one way or another. I guess it's because I'm at that age now when things like that happen, whereas in the past I did not really have to deal with that in the same way. The closing number No I don't is quite funky partially … so maybe the right choice for the title of most unusual song on the album? Robert Pehrsson begs to differ: I would probably say it's rather 'Traveling Through The Dark'. It's got an 1980s vibe to it and I don't really see any other of the songs having that. But overall I think this album is more diverse. 'Pretender' also comes to mind as a bit unusual and something we have not really done before. These are the songs I tend to like the most. Record Label: High Roller Records Style: Metal

Limited Edition Box including the album on CD and PRETTY MAIDS bust Record Label: Vinyl Eck Style: Metal

After the successful comeback with the pop/rock album Human (2015) the singersongwriter finally opens his private monastery treasury. With the spiritual songs from the album RUAH Michael Patrick Kelly throws himself into the theme of ‘God without any restrictions. You can hear why he is able to do it: In the six years he spent in the quietness of a French monastery he found a sense in all this and wrote his songs using this deep experience. If youre waiting for weak hypocrisy or new platitudes from a church-day christian pop factory, it turns out to be completely the opposite: The music is so exact, so brightly composed, so excellently played and Kellys exceptional voice is so engaging that solely from a music point of view the album is one of the most high-quality pop releases of the past years. But at the same time it takes itself and the listener all the time deeper to the presence of the greater absentee. Record Label: Believe Style: Pop

Record Label: Zip City Style: Metal

This unauthorized audiobook is the all access music story about their journey. The Story So Far features rare interviews and live-songs from FM broadcasts. Record Label: Laser Media Style: Metal

FM and Frontiers Music Srl are pleased to announce that due to overwhelming demand, the Indiscreet 30 album will see a formal commercial release on November 4th. Thirty years after the release of their now classic debut album, FM decided to record a modern-day version of Indiscreet. FM were asked many times to consider re-recording the tracks on the album using today's modern technology and recording techniques to give the songs the FM sound of today. Over the years, Indiscreet has deservedly won the reputation of being an iconic album for the band. FM always steered clear of the idea of re-recording it, but while in the studio recording the follow-up to their most recent release, HEROES & VILLAINS, FM decided to put down a backing track to the song That Girl to see how it would feel with the huge sounds they were getting at the time. It gave the song a new dynamic and power that was not possible to achieve with '80s recording technology. We played it back the following morning and decided it would be great to hear all these classic songs with this new lease of life, says bassist Merv Goldsworthy. We are not trying to recreate the original, but this is our interpretation played by FM as we are today with the sound of FM 2016. In addition to the re-recording of the original album, INDISCREET 30 also features seven bonus tracks, including brand new song Running On Empty and a new recording of Let Love Be The Leader. INDISCREET 30 was produced by FM, recorded at Tremolo Studios and Coal House Studios, Staffordshire and mixed by Jeff Knowler (METROPOLIS, ROCKVILLE and HEROES & VILLAINS) Record Label: Frontiers Records S.R.L. Style: Metal

Original sound recording with a complete revisited layout. Record Label: Osmose Productions Style: Metal

Celebrating their 10th anniversary next year, the melodic metal quartet Dead End Finland will release their third full-length album worldwide on the 4th of November 2016. The album bears the name Slaves To The Greed and continues on the same path with previous albums, but taking all the musical dimensions even further and deeper. Slaves to the Greed´s production value is top notch, no wonder it took over two years to get this album done. Each instrument and each sound were perfectly validated. With number of tracks reaching over 200 in some songs, the sound of this album is absolutely massive. Slaves to the Greed was recorded, like previous albums at the prestigious D-Studio and we are so very pleased with the result. The sound is fuller and heavier, however crystal clear and dynamic. We really hope that the album is listened to as a whole, because it has been built that way. Still it is not exactly a concept album and every track has it´s own story. We recommend to put your headphones on and spend a joyful 45 minutes of listening. We hope that this album will reveal something new every time you listen it. There´s maybe not any hidden messages when playing it backwards, but if you turn it loud and play it with 150db volume, it sounds louder than Jumbo jet Record Label: Inverse Style: Melodic Metal

Fullcolored sleeve with hotfoil embossing - printed innersleeves - two sides huge 90*60cm poster printed in 4c folded to 30*30cm - 180g darkblue vinyRecorded down at the bunker with Herr DEPORTATOR behind the knobs, URFAUST managed to ban another haunting masterpiece into tape! URFAUST is always going different directions on every release, but this time, they managed to take everything one step further: the revered and praised "URFAUST-Sound" has managed to go further and further into unexplored territories of the dark cosmos, resulting in one hell of a trip consisting of 6 songs that will take you beyond… - Six songs / around 44 minutes - Recorded down at the Bunker by Herr Deportator & Urfaust in 2015 / 2016 - Mastered by Engel at Temple of Disharmony - Cover artwork by ThornyThoughts Artwork - Pictures by Nona Limmen Record Label: Van Records Style: Metal