CD

Guitarists Magnus Danneblad and Anders Karlsson, bass player Magnus Van Wassenaar and drummer Tommy Johansson started out as Purple Haze in Linköping in 1981. When singer Christer Göransson joined towards the end of the year, they soon changed their name to Genocide and supported local metal heroes Axewitch. A final name change was to follow: In April 1983 Mindless Sinner recorded a five-track demo entitled »Master Of Evil«. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album. This was followed by the first full-length effort »Turn On The Power« in 1986. The band then signed to Delta Records, suffered several line-up changes and continued as Mindless, finally calling it quits in 1990 after having released the »Missing Pieces« album.

Guitarists Magnus Danneblad and Anders Karlsson, bass player Magnus Van Wassenaar and drummer Tommy Johansson started out as Purple Haze in Linköping in 1981. When singer Christer Göransson joined towards the end of the year, they soon changed their name to Genocide and supported local metal heroes Axewitch. A final name change was to follow: In April 1983 Mindless Sinner recorded a five-track demo entitled »Master Of Evil«. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album. This was followed by the first full-length effort »Turn On The Power« in 1986. The band then signed to Delta Records, suffered several line-up changes and continued as Mindless, finally calling it quits in 1990 after having released the »Missing Pieces« album.

Six years following the release of their acclaimed self-titled EP via Osmose, the Polish black-death band Untervoid are back with their long-awaited debut album "Parasite".

“Parasite” is a concept album that explores the multifaceted role of humanity as a parasitic force on both society and the planet. From the suffocating pressures of social constructs to the looming threat of ecological collapse, “Parasite” delves into the anxieties of our time. Rooted in the shadows of the Cold War, the album confronts the spectre of inevitable destruction, painting a bleak yet compelling portrait of a world on the brink, echoing Nevil Shute's “On the Beach”.

Formed in 2015 by Destroyer (Redemptor, ex-Hate, ex-Kriegsmaschine) and Adam Sierżęga (Armagedon, Azarath (live)), the band appeared, with a full concert line-up, at the prestigious, completely sold-out Merry Christless concert series following the release of their debut EP. Untervoid have steadily built a reputation for their intense and uncompromising sound, finally crafting a sonic behemoth - “Parasite”. In 2024 Haldor Grunberg (Thaw, Mentor) joined the band as a third member.

Poland's experimental black metal five-piece THAW is thrilled to announce the release of its fifth album, marking its long-awaited return after years of hiatus. The album, featuring six tracks, is the quintessence of the band's musical identity, showcasing its unique sound in a new light.

The musical layer on THAW's new album truly captures the essence of the band, combining vibrant sounds with heavy, low-tuned guitars. These powerful sounds are further enriched with noisy electronics, adding depth and character to each track.

Five The Hierophant continues to walk the winding path they’ve chosen for themselves in the beginning; further down towards within, and further out towards new horizons. Refusing to ascribe to a singular style, they blend elements of black/doom, psychedelic, ambient, experimental and jazz into one syncretic trip. “Apeiron” is a hypnotic, hallucinatory experience with heavy emphasis on the dark atmosphere, cinematic dreamscapes, and repetitive ritualistic trance-inducing sounds. The production, without a doubt, is a step up from the previous installment, “Through Aureate Void”. The band keeps expanding the use of atypical instruments, such as: horns, trumpets, gongs, bells, violins, skull shakers, ritual drums and other tools, which help to capture the haunting spirit of the music.

With their anticipated debut full length Seraphic Punishment in 2022, Fargo’s Maul dropped one of the most memorable death metal earworms of the year. Coupled with the band’s relentless drive for bringing their music to the people live throughout the country, Maul’s reputation rapidly grew and a pact with 20 Buck Spin was scrawled in blood. The initial fruit of that union was delivered late in 2023 with the Desecration And Enchantment promo tape. And now all roads have led to Maul’s second album, In The Jaws Of Bereavement.

While the rotten death metal heart at the core of the band is without question, the band have no shame in their game when it comes to embracing a penchant for the heavier side of hardcore with mosh-ready riffs and crowd-killing breaks. In The Jaws Of Bereavement manages to so skillfully fuse the eerie apparitions and melodic lead work of death metal’s greats with the punishing rhythms of hardcore’s violent power it feels completely organic. It’s all tied together by the unhinged vocal prowess of the human wrecking ball Garrett Alvarado.

At its putrescent core Maul is a live band, and the songs on In The Jaws Of Bereavement are adeptly tailored to the environs of a dank club sweltering from the energy created through this music and a crowd living for nothing but the moment and the swell of bodies on bodies. The production here is clear and in one’s face, and allows the band to expand their unique blend of old and new to become Midwest death incarnate.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Limited to 500 copies in deluxe clamshell box with alternative art, containing the following items:
-Digipack CD + 24paged booklet & Poster
-Textile Flag
-Crest Metal Logo Pin
-Woven Patch (digipack design)
-2x album cover stickers (of both jewel case and digipack design)

with 24 pages + poster

CD + 24 pages booklet

10TH ALBUM ANNIVERSARY EDITION
The album contains the tracks from the sold out 10″ MLP 20:11.
DIGIPACK: 4 panel color print, 300g b-b cardboard, glossy UV varnish
SLIPCASE: color print, silver laminate + glossy UV varnish; assembly and sealing into foil.