2 миллиона музыкальных записей на Виниле, CD и DVD

Фирма High Roller Records

High Roller Records
1 CD
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2049 руб.
Reissue of the 1985 full-length from this British heavy metal band from Newcastle. Warfare was formed in 1982 and disbanded in 1993. Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 2919407

1 CD
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2199 руб.

Фирма: High Roller Records

Артикул: CDVP 3589673

2 CD
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2949 руб.
Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3499271

1 CD
Под заказ
2199 руб.

Фирма: High Roller Records

Артикул: CDVP 3595628

1 CD
Под заказ
2199 руб.
Up until the present, not a lot of people knew if Phyne Thanquz was a real band or just an elaborate hoax. There was one ridiculously rare 7" single entitled “Into The Sun” (with “Curse Of The Gods” on the B-Side). It came out on a label called ERC in 1981. Just recently a copy of the single was sold for well over 600 Euros. It really is an extremely precious artifact of the glorious New Wave Of British Heavy Metal period. Apart from the participation of a certain Dr. Death, there was not a lot of information to be found on the record as to who actually played on the single. Dr. Death is no other than Stewart Menelaws who helped to supply us with all the details regarding this last big secret of the immortal N.W.O.B.H.M. era. “Phyne Thanquz was not a joke at all”, Stewart Menelaws starts to unfold the band's history. “We played at many night clubs, rock venues and rock festivals over a seven year period. The stage act comprised a fairly large lighting and special effects show.” Phyne Thanquz is indeed quite a strange name which probably added to the mystique surrounding the band. Originally, it only stood for “fine thanks” but soon (surely in part due to the single's cover artwork) followers started to attach different interpretations to the moniker. Stewart Menelaws explains: “Due to the band’s growing occult overtones, stage act and branding, the name took on a sinister feel making many people think there was a deeper secret behind it. The name was thought up by one of the early roadies/band photographer and while I personally hated the name, it stuck. Although some of the band members (who changed a lot) got into the whole 'occult' stage act thing, dressed up as zombies/walking dead etc – there was no deep spiritual or supernatural interest. I myself on the other hand was a different story. After facing death twice on a hospital bed at 16 years of age and suffering from ill health for a further 15 years my fascination with death and the supernatural was the motivation behind the songs written.” This enduring period of ill health also led to Stewart's pseudonym Dr. Death: “I got the nickname from a biker fan. After major surgery as a teenager I lost a great deal of weight and my face was gaunt with sunken eye sockets and high cheek bones. The graphic artist who designed the skull image on the single cover based it on myself. As I went deeper into occult interest I slept in a coffin (also used for the stage act) and we began using heavy make-up effects such as death masks – so the name fitted.” As already mentioned earlier, Phyne Thanquz's sole single was released in 1981 via ERC. ERC actually stood for Edinburgh Recording Company with the band originally coming from the capital city of Scotland. Stewart Menelaws takes over the story: “ERC was a local Edinburgh based studio – I don’t know that much about them. Phyne Thanquz was banned from various venues for many reasons. At times places were smashed to pieces in violent frenzies; the police would be called on occasions. Managers were threatened, agents were abused and the band’s occult overtones saw them being exorcized from one venue (they actually got a priest in to do this). Simply, the band had a reputation as being dark and strange and best not mention them – bit like a bad omen.” Marshall Bain is listed as the producer of the single. Stewart explains: “Marshall Bain owned ERC studios and he put that onto the single without our knowledge. We were not bothered either way. Marshall always seemed a little bit nervous when we were in his studio. ERC is no longer. In the late 1980s I collected all the demo reels and marketing materials, photographs and burned everything in a bid to erase the memory.“ Apart from Dr. Death (aka Stu Menelaws) on guitar/vocals, the following musicians played on the single: Amanda Hodge (keyboard), Bod (aka Bryan Dodds) on drums and Mark Patrizio (former Exploited member) on bass. In the past, it was rumored that Phyne Thanquz was somehow associated with John Mortimer's Holocaust. However, this was probably due to the fact that both bands come from Edinburgh. Stewart makes it clear: “We were not influenced by Holocaust in any shape or form. As far as I am aware, we were around long before they appeared; in fact I only got to hear of them near the time Phyne Thanquz began to break apart. Personally my only influence was Jimi Hendrix, Bach and also The Pink Fairies.” During the late 1970's and early 1980's Phyne Thanquz had a healthy biker following when they appeared live. There's one gig Stewart Menelaws remembers vividly: “At a certain gig a West Coast Angel told me that one of the Hells Angels from the London area wanted to see me … thankfully it was just to slap me on the back to say we were 'shit hot, man'! We had one West Coast Angel roadie bury a crowbar into a punter’s head which resulted in a huge gathering of town's folk wanting to hang us all from the roof beams … that was a pretty tense moment. One of the local Hells Angels chapters were fans and roadies for Dog but there were growing tensions with other bike groups which made things troublesome at times. The last gig we were to play at 'The Glenburn' was packed with various bike clubs and there was a tense atmosphere which resulted in the place being smashed up while we played a song to accompany the riot as the police arrived in force. Most of our roadies were bikers, both patch bearers and not. Venues we played were 'The Glenburn', 'The Nite Club', 'The Glen Pavilion', 'The Odeon', 'The Calton Studios', 'Niki Tams', 'The Kinema', 'Twisted Wheel', 'Craigmiller Rock Festival', 'The Palace', 'The Laughing Duck', 'The Green Tree', 'The Astoria', ‘Sneaky Pete’s’, ‘Clowns’ plus various town halls and other venues. We were one of the few bands in Scotland at that time with a full 1.5K PA rig (that was big in those days) and lighting rigs. Occasionally we would hire these out to other bands.” Following Phyne Thanquz, Stewart Menelaws put together a band simply called Dog: “Yes, Dog was put together by myself (now named General Beetashoon,) Bod (now named Harry Harlot) and bass player Ross Mason (aka Bandit) after Phyne Thanquz broke up. It was the band that Phyne Thanquz should have been from day one but with so many changes in line-up (drums/ bass/vocals) it kept messing up the band's original roots. Dog also dropped the stage act and make-up and simply looked like three filthy bikers with a wall of Marshall stacks behind them.” Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3321160

1 LP
Под заказ
3599 руб.

Фирма: High Roller Records

Артикул: CDVP 3580035

1 LP
Под заказ
3399 руб.
Many NWOBHM bands were awesome, but didn’t make it far. Wolf (not to be mistaken with an awesome Swedish band that also happens to be called Wolf) is one of those bands who recorded awesome stuff, but never became well-known. Still, that should not prevent us from enjoying those lesser known bands and their albums. Edge of the World is one of such albums. Forgotten gem, like I said in the title? No doubt about it. This album has one similarity to Herman Frank’s Right in the Guts, which I’ve already had a pleasure of reviewing: it’s consistently great. There’s a lot of variety on this album: some songs are fast (Highway Rider, Red Lights), others are slower (A Soul for the Devil), while the title track starts off slow, then morphs into something more upbeat, but every track is worth your time. Whether it’s a riff or a solo, something the singer does or something completely else, each track contains something that draws your attention, so you cannot go wrong with this. Speaking of the singer, he’s one of the best singers I’ve had a pleasure to hear among NWOBHM singers. He has a great voice and he knows how to use it. Production is standard for that time: a bit raw, but that’s what gave many other albums from that time a lot of charm; this album is not an exception. If this album were overpolished like, for instance, Def Leppard, it would be completely ruined. A few tracks do happen to stand out: Highway Rider, that also happened to be released as a single (albeit at the time when the band was called Black Axe); Heaven Will Rock ‘n’ Roll, what happens to be arguably the catchiest track; A Soul for the Devil, that has a prominent atmospheric element. But it would be wrong to ignore the rest of the album: Head Contact has one of the most convincing riffs I’ve heard. All in all, I failed to find any flaw to the album. I’ll keep it short: I sincerely recommend this album and, trust me, you WILL keep returning to it. Like I said, it can be rightfully considered a gem. Not only among NWOBHM albums, but among heavy metal albums in general, or even among music albums per se Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3319155

1 CD
Под заказ
2199 руб.

Фирма: High Roller Records

Артикул: CDVP 3600028

1 LP
Под заказ
3249 руб.
Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3135788

1 CD
Под заказ
2049 руб.
Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3156566

1 LP
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3249 руб.
2016 reissue, white/ red splatter vinyl, ltd 350, new artwork, lyric sheet Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3251284

1 CD
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2049 руб.
Quayde Lahüe are a band that go through an unsual path. The music Quayde Lahüe offer us is not quite usual these days as they go through what we would call a proto-metal sonority. But I guess that’s not quite accurate. Quayde Lahüe drank profusely in 1970s Metal bands like early Judas Priest and Scorpions. It was a time those bands bounced between an aggressive sonority and musical virtuosity, almost hitting progressive rock. But, for instance, first track “The Oppressor” is more kind of late 1970s Metal or, better, early NWOBHM. The 11 tracks of “Day Of The Oppressor” are somewhat inspired in those musical moments. What I can say for sure is that Quayde Lahüe “Day Of The Oppressor” is a real time travel. Moreover, Jenna Fitton’s voice make us travel to Suzy Quatro songs. I guess that this comparison fits a lot better to Quayde Lahüe, as it’s inevitable. For Quayde Lahüe emotion comes first than musical technique and accuracy. Songs are full of melody and emotion, combinaing to song titles as “Symbol Of Love,” whose innocent guitar solos and duos create tons of emotional thrills. Again, singer Jenna Fitton’s voice calls the attention. She sings with passion added to a beautiful voice. In “Nightmare” she does it again, and with more emotion helped by a church organ sound that gives a more retro sonority. Quayde Lahüe’s recriation of the early era of Metal is technically perfect. Instruments sound quite the same. Even the musical techniques are the same. Nobody goes far from it. “Just So You Know” is like if “The Runaways” were back. Jenna feels like Joan. We can also hear those rock’n’roll guitar riffs that almost went extinct. Quayde Lahüe has just added some boogie to modern Metal. No doubt that it’s a delight to hear Quayde Lahüe. Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3350069

1 LP
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3999 руб.

Фирма: High Roller Records

Артикул: CDVP 273512

1 CD
Под заказ
2049 руб.
Leviathan’s Desire” was Protector’s first release without original vocalist Martin Missy. Olly Wiebel was the new man on the microphone, and he brought in a new and different style, one no less gruff and aggressive than that of his predecessor. With the “Leviathan’s Desire” EP, Protector left the musically mid-paced path they had followed on “Urm the Mad”, turning back to their key skills and delivering a short but sweet-and-extreme thrash metal attack. The EP contains a revised and extended version of “Kain and Abel” that fits in perfectly with the new tracks, which are full to the brim with raging riffs and violent hooks, relentlessly delivered by a band that’s fully aware of its great skills and abilities both with regard to song-writing and performance – rhythm changes, breaks and bridges are all thoroughly worked out and excellently delivered. But do not fear! There are no signs of giving in to any ideas of embracing the “progressive” side of Protector. This is still pure Teutonic Thrash to the bone. “Leviathan’s Desire” was recorded in the Phoenix Studio Bochum in 1990 and originally released by German label Atom H (based in Witten, North Rhine-Westphalia) in the same year. The main songwriters for “Leviathan’s Desire” were guitarist Hansi Müller, who had been a part of Protector since the very beginning, and Michael Hasse, Protector’s original drummer, who sadly deceased in 1994. Olly Wiebel remembers that the two were pulling a row of all-nighters to get everything finished in time. And another very familiar figure was involved, too: The original credits keep quiet about it, but Protector’s first singer Martin Missy contributed parts of the lyrics for the EP. Apart from the (old and new) band members themselves, there was Ralph Hubert of Mekong Delta fame involved, as he took over production duties of the record. Being the band’s first output with Hansi on vocals, it is no big surprise that “Leviathan’s Desire” is still his favourite Protector release. It would also be the last output featuring the guitarist, as left the band in 1991, shortly after a tour with Napalm Death, and singer Olly then took over guitar duties as well. Also, fans and media reacted overall positively to this release, so the change in the singer position did not lead to any deep rifts between Protector and their fans and followers, as one might have expected. Olly is extremely glad to see the vinyl re-release of “Leviathan’s Desire”, which has been mastered for vinyl by old comrade Patrick W. Engel at Temple of Disharmony. As a special feature for every nostalgic thrasher’s soul, Protector opened up their dusty cabinets to present a selection of previously unreleased pictures from those still good old days, which will be gracing the High Roller edition of “Leviathan’s Desire”. Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3138109

1 LP
Под заказ
3599 руб.
Record Label: High Roller Records Style: Metal

Фирма: High Roller Records

Артикул: CDVP 3404003

1 LP
Под заказ
3599 руб.
More than 30 years after the birth of Epitaph, the Italian Doom masters from Verona unleash their new full-length album »Claws« via High Roller Records. In the eighties and nineties, Italy spawned a big black mass of great doomy bands, as the underground flourished with illustrous names such as Death SS, Black Hole, Sacrilege, Zess or Abysmal Grief... Epitaph were an integral part of this glorious movement, having close bonds with other legendary acts, namely Black Hole and Sacrilege. Record Label: High Roller Records Style: Doom Metal

Фирма: High Roller Records

Артикул: CDVP 3350171

1 CD
Под заказ
2199 руб.

Фирма: High Roller Records

Артикул: CDVP 3595577

1 LP
Под заказ
3599 руб.

Фирма: High Roller Records

Артикул: CDVP 3589077

1 LP
Под заказ
3749 руб.

Фирма: High Roller Records

Артикул: CDVP 3560900

1 CD
Под заказ
2199 руб.

Фирма: High Roller Records

Артикул: CDVP 3595629

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