Vinyl

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.  

Written and performed entirely by Julinko, ‘Naebula’‘s incantations unravel and spiral creating the perfect soundtrack for obsession, desire and contemplation, a world inhabited by greats like Meredith Monk, Diamanda Galás and Jarboe, diverse artists all driven by the quest for the purest and most crystalline form of catharsis.

Olde Throne is a melodic and atmospheric black metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland. Even after moving back to his native New Zealand, McKenzie felt deeply inspired by his experience in the highlands, and this project was the result of such inspiration. Olde Throne released two studio albums under this monicker, An Gorta Mór (2022) and In the Land of Ghosts (2023). Two years later, the man from Christchurch signs with Italian long-standing label Avantgarde Music to release their third full-length album, Megalith.

Two years in its creation, Megalith is a primal journey into the depths of prehistory. Where previous albums explored the strife of 19th-century Ireland (An Gorta Mór) and the spectral lore of 17th- and 18th-century Scotland (In the Land of Ghosts), Megalith delves into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC. The use of flutes, throat singing and tribal drums forges an immersive brand of Neolithic Black Metal.

100 copies limited - black double vinyl in gatefold cover

NEW AND UNPLAYED BUT arrived from supplier with a sliight corner dent

Vinyl: Mint 

Sleeve: VG+

Vinyl: MINT

Sleeve: VG+

1st press

Grey With Black Marbling [Smoky Grey]

Three years after their fascinating debut, Suicide Forest is back with Reluctantly, a sophomore album which further develops their art. Taking their name from the Japanese Aokigahara forest, where many troubled 
people travel to end their life, the one-man band from Tucson, Az., moves from classic depressive black metal coordinates and expands their sound palette. As a result, Reluctantly settles somewhere in between DSBM, atmospheric black metal and post-black/blackgaze.
The perfect company for restless souls, Reluctantly reminds of the eerie keyboard patterns of Burzum and the dilated atmospheres of contemporary US black metal pillars like Ash Borer, mixed with some unpredictable twists such as dissonant riffs and solos. Suicide Forest will please both those looking for furious up-tempos and the more introvert blacksters, looking for a sanctuary from the outside world.
Multi-instrumentalist and mastermind A.Kruger wrote Reluctantly in the second half of 2019, before the pandemic struck us all, but began tracking the album at his home studio in early 2020. About the lyrics, when asked what themes inform his work, he plainly replied: The whole album focuses
on the themes of resent and isolation, feelings that were only compounded considering the entirety of Reluctanlty was recorded during the covid-19 lockdown”.

This EP was part of the set:   "The cursed Singles"

It was never meant to be sold individually.

Sleeve:  VG+  Vinyl: unplayed, VG++ with some dust

Formed in January of 1985 by Dave Carr (bass), Chuck Stadulis (drums), John Plumley (guitars) and Gary Capriotti (vocals), the Philadelphia outfit Anvil Bitch was immediately sending shock waves throughout the metal underground with their raw four-track basement demo tape, which established them as major contenders in the quickly growing thrash metal scene. Massive college radio airplay paired with selected international press and the support of influential journalists such as Don Kaye from Kerrang! and the staff at Kick Ass Monthly cemented Anvil Bitch’s reputation of one of the hottest new bands on the scene. The summer of 1986 saw Anvil Bitch enter the studio to record their debut album »Rise To Offend« for New Renaissance Records, along with the track “Neckbreaker” for release on the NRR compilation album »Speed Metal Hell 2« (following “To The Grave” on »Thrash Metal Attack« a year earlier). Underground metal fans finally saw the record hit the shelves in December ‘86. Initial pressings sold out in a matter of months. With albums sales still growing, the band set off on their first major tour playing dates with Motörhead and Nuclear Assault, along with a long leg of headlining shows on the East Coast, from Canada to Miami. In their hometown of Philadelphia Anvil Bitch were easily drawing 1,000+ punters. Unfortunately, Anvil Bitch split up before being able to record a follow-up to »Rise To Offend«. However, they managed to record a one-off EP named »Sanctify« in 2008, before calling it quits for a second time around. Having been out of print for a long time, High Roller Records is proud to announce the de luxe re-issue of an overlooked US thrash metal gem, featuring short sharp shocks such as “Vengeance Of The Sword”, “Maggot Infestation” or “Shark Attack”.

350gsm laminated cover, 2-page insert with liner notes in french & english, gold sticker/hand numbered, stamped & sealed.
Limited edition of 100 transparent yellow vinyl copies.

Mutant Embryo Records is proud to announce the release of Archaïa's 2nd & last LP!! Following their debut release, the homonymous LP from 1977, 'Harmonie Solaire' is the last ever recordings the band made in 2013 with the authentic line-up of Michel Munier & Pierrick Le Bras. An historical past versus an uncertain future, a trip to occult sessions, weird creatures & robots from a parallel universe through the eerie sound of this zeuhlish/experimental duo. Haunting vocals, vintage synths, acid guitars & electronics are among others the basic elements composing the album's atmosphere.

Death Metal    180g grey galaxy vinyl, insert. Limited to 100 copies.
 

Solid gold LP, limited to 200 hand-numbered copies.
 

400x black vinyl

For the first time, these 5 tapes (Ash Nazg …, lux devicta est, promo tape 2/94, Moonrise and In Hate & Sin)  are compiled as a stand-alone 2LP / 2CD album, accompanied by extensive photo material and an in-depth interview, covering the period from the formative 1980s, over the conditions leading to the establishment of the band, up to the days when a deal for their debut Verwüstung/Invoke The Dark Age was signed.

The direct and unveiled nature of these recordings invites the listener to travel back in time, step into ABIGOR´s rehearsal cellar and experience the raw, youthful energy which shows a different side of the band than the successive recordings at Hörnix Studio.

The pressing and print quality make this double-album the ultimate memorial to the reckless bygone days not only of ABIGOR but also of Black Metal as a whole.
On 48 A5 pages respectively, the circumstances around each demo are treated individually.

After more than 30 years, the hands-on experiments of those simple, analogue times still work their magic!