Фирма High Roller Records

Brandnew album from the german heavy metal institution Stallion! Record Label: High Roller Records Style: Metal

black vinyl, ltd 200, 425gsm heavy cardboard cover, cardboard lyric insert, mastered for vinyl by Patrick W. Engel at Temple of Disharmony Record Label: High Roller Records Style: Metal

transparent swamp green vinyl, ltd 500, 425gsm heavy cardboard cover, insert, printed inner sleeve, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 soun Record Label: High Roller Records Style: Metal

transparent deep purple vinyl, ltd 500, 425gsm heavy cardboard cover, insert, printed inner sleeve, poster,mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound Record Label: High Roller Records Style: Metal

transparent coloured crush vinyl, ltd, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1985 sound Record Label: High Roller Records Style: Metal

transparent sea-blue vinyl vinyl, ltd 500, 425gsm heavy cardboard cover, printed inner sleeve, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1986 sound Record Label: High Roller Records Style: Metal

Re-mastered re-issue on triple transparent blood-red vinyl, ltd 300, 425gsm heavy cardboard cover with 7mm spine, poster, 4 page booklet, 13 bonus tracks(!), remastered and restored by Patrick W. Engel at Temple of Disharmony Record Label: High Roller Records Style: Metal

Record Label: High Roller Records Style: Metal

oxblood vinyl, ltd 400, 425gsm heavy cardboard cover, poster, Mastered and restored from an original tape transfer by Patrick W. Engel at TEMPLE OF DISHARMONY in January 2017. Record Label: High Roller Records Style: Metal

Infernäl Mäjesty’s second full-length album “Unholier Than Thou” was originally released by Hypnotic Records in 1998. Vocalist and band leader Chris Bailey explains why the album was remixed and re-released only three years later by Hypnotic Records along with Big Daddy: “I don't know what the label owners had in mind but we are always looking for an opportunity to have our works released. Unfortunately there have been distribution problems in the past so it wouldn't surprise me if the labels where just trying to open new possibilities.” The 2001 version has never before been available on vinyl: “Yes, that’s true. We are stoked. It was first released on CD, then we released it for streaming and downloading. The distribution was very weak and it never had the proper fanfare we believe it deserved. To see ‘Unholier Than Thou’ on vinyl for the first time is a monumental trophy that just doesn't exist anywhere else on planet earth. There are no other vinyl copies of ‘Unholier Than Thou’ that I've ever come across. This is authentic.” Moreover, the remix version has been extremely difficult to get hold of, as it was originally only available in the US, if that is correct? Chris confirms: “To the best of my knowledge yes, or at least it was only officially available at the time in the US.” Infernäl Mäjesty also had to deal with some line up changes the same year the remix came out – did that have any effect on the release? Chris: “The line up changes were just normal day-to-day struggling to survive and keep the machine alive. We are used to working under pressure but ideally we wouldn't normally be making line up changes as releases are coming out. We were also transitioning from Toronto to Vancouver, which had a larger impact setting us back that didn't allow us to focus on things happening around us that could have used more attention. Looking back now it was the right decision.” A year before, Infernäl Mäjesty’s “Chaos in Copenhagen” live album was released, which also included “Night of the Living Dead”. Chris explains why the band decided to put that song as a live recorded version on the remix of “Unholier Than Thou”: “Because of where it was recorded, also, it sounds great and we thought it would be a nice gift to those who have been so kind as to collect one of our works.” And where exactly was this version recorded? Probably during the European tour Infernäl Mäjesty did after the release of “Unholier…” in 1998? Chris: “You bet. The whole experience that led up to the night of that recording was something I'll never forget. It was my first time in Christiania. I had such an amazing time there. It will always be etched in my mind. The same way a familiar smell can stimulate a flood of memories happens to me whenever I hear it.” Now getting back to the record as such: Who did the remix and remaster? How much was actually changed about the sound? “It took an already excellent recording to a new level of excellence in my opinion. It was remastered in Vancouver by Steve Terror and Kenny Hallman. As technology is always improving to capture music, we felt that it was an opportunity to fine-tune it, only to keep it at a level of quality that we are always striving to achieve.” And when that was done, how did people react to the new version of “Unholier Than Thou” when it came out in 2001? Chris: “Those that could actually find it were thrilled. Many were just discovering it for the first time. We hope to have many more new fans find they have been missing something unique from the land of snow and ice. Something uniquely Infernäl Mäjesty.” Chris also has a clear favourite when comparing the original CD-version and the new vinyl release by High Roller Records: “Well, to be honest, the version I prefer is the vinyl version. It has everything I love when listening to music. Vinyl is part of my soul.” Not just yours, I guess. One thing vinyl records are loved for is of course the cover artwork- and what about the amazing artwork that adorns the 2001 version of ‘Unholier Than Thou’? It looks like an original medieval or early modern painting, right? “Yes you are correct. We had originally commissioned some artwork for the 2001 version but that didn't work out so well. We were disappointed. Luckily Steve was doing some research and discovered the artwork. It suited everything about the concept but in a new light from the original.” Before we end our conversation, Chris has one last important remark to make about the remix version of “Unholier Than Thou”: “Just to remind everyone, when possible, listen to it loud. The quality of the recording can handle being turned up to max volume. It transforms into a different beast the louder you go. Send us your feedback on it. We love to hear from you. Take care all.” Record Label: High Roller Records Style: Metal

Geddes Axe formed in 1979, being inspired by local Yorkshire acts Def Leppard and Saxon (who the band shared a stage with during their formative years) and split already in 1983 after signing a major record deal and an already recorded debut album, which never came out. »Aftermath« now collects the entire catalogue of Geddes Axe material. In detail that’s the first two 7” singles, the »Escape From New York« 12” EP plus never issued demo tracks such as “When The Lights Go Out”, “Life In London”, “Into The Wilderness” and “Valley Of The Kings”. 12 songs (50 minutes) of pure bona fide NWOBHM in total. Martin Wilson explains: “»Aftermath« contains the songs from the three vinyl releases but it’s also given us the opportunity to release recordings of four other songs that were previously unreleased. I’m pleased we’ve managed to get these out because I reckon they’re just as good as the others – ‘Valley Of The Kings’, particularly, is very representative of Geddes Axe’s style. ‘When The Lights Go Out’, ‘Life In London’, ‘Into The Wilderness’ and ‘Valley Of The Kings’ were originally recorded along with new versions of the ones released on vinyl as a sort of ‘demo’ album. It was around the time of »Sharpen Your Wits« during the time we had Nick Brown and John Burke in the band but while we still had Andy Millard on vocals. »Aftermath« collects about everything the band has ever recorded. There’s still the odd live bootleg and one or two other versions of these songs with other band members on – but, otherwise, that’s it. There were a couple of live recordings broadcast on the local radio station (Radio Hallam), including one supporting Saxon at Sheffield City Hall that would have been good to have now but they’ve just got lost over the years.” Quite out of the blue Geddes Axe received an invitation to play Brofest (UK) in 2016. For Martin Wilson this was the incentive to get back into shape: “Andy Barrott was approached about us doing it. I must admit, although a few people kept asking when we’d get back together, I never thought it’d happen. It’s essentially the Geddes Axe Mark 1 line-up: me, Andy Barrott and Andy Millard but with a couple of new musicians, namely Andy Ritson on bass and Craig Taylor on drums. Yes, we’re all really looking forward to it and are also going to do a private warm-up gig in Sheffield as part of the preparation. We’ll be sticking to the songs off the »Aftermath album for Brofest as we only have a limited amount of time. But in the future, who knows?” Record Label: High Roller Records Style: Metal

Geddes Axe formed in 1979, being inspired by local Yorkshire acts Def Leppard and Saxon (who the band shared a stage with during their formative years) and split already in 1983 after signing a major record deal and an already recorded debut album, which never came out. »Aftermath« now collects the entire catalogue of Geddes Axe material. In detail that’s the first two 7” singles, the »Escape From New York« 12” EP plus never issued demo tracks such as “When The Lights Go Out”, “Life In London”, “Into The Wilderness” and “Valley Of The Kings”. 12 songs (50 minutes) of pure bona fide NWOBHM in total. Martin Wilson explains: “»Aftermath« contains the songs from the three vinyl releases but it’s also given us the opportunity to release recordings of four other songs that were previously unreleased. I’m pleased we’ve managed to get these out because I reckon they’re just as good as the others – ‘Valley Of The Kings’, particularly, is very representative of Geddes Axe’s style. ‘When The Lights Go Out’, ‘Life In London’, ‘Into The Wilderness’ and ‘Valley Of The Kings’ were originally recorded along with new versions of the ones released on vinyl as a sort of ‘demo’ album. It was around the time of »Sharpen Your Wits« during the time we had Nick Brown and John Burke in the band but while we still had Andy Millard on vocals. »Aftermath« collects about everything the band has ever recorded. There’s still the odd live bootleg and one or two other versions of these songs with other band members on – but, otherwise, that’s it. There were a couple of live recordings broadcast on the local radio station (Radio Hallam), including one supporting Saxon at Sheffield City Hall that would have been good to have now but they’ve just got lost over the years.” Quite out of the blue Geddes Axe received an invitation to play Brofest (UK) in 2016. For Martin Wilson this was the incentive to get back into shape: “Andy Barrott was approached about us doing it. I must admit, although a few people kept asking when we’d get back together, I never thought it’d happen. It’s essentially the Geddes Axe Mark 1 line-up: me, Andy Barrott and Andy Millard but with a couple of new musicians, namely Andy Ritson on bass and Craig Taylor on drums. Yes, we’re all really looking forward to it and are also going to do a private warm-up gig in Sheffield as part of the preparation. We’ll be sticking to the songs off the »Aftermath album for Brofest as we only have a limited amount of time. But in the future, who knows?” Record Label: High Roller Records Style: Metal

Mythra is one these N.W.O.B.H.M. bands that defined modern metal even though they had released only one EP. The full of energy and adrenaline compositions, the cult status, the hard to find copies and mostly the speed element that was something innovating and mostly influential for the back then new generation on the other side of the Atlantic Ocean made Mythra, amongst others, something like proto-speed band that gave birth to thrash Metal after a couple of years. The majority of my generation actually heard for the first time Mythra’s songs in 1998 when ‘Death And Destiny’ LP was released via British Steel Records, a time certainly before the real revival of N.W.O.B.H.M. that takes hold for almost a decade right now. But the band was originally formed 20 years ago, in South Shields England in 1978. Their mythical EP entitled ‘Death And Destiny’ (originally pressed in 1979 by Guardian Records and re-pressed by Street Beat Records in 1980) it is rumored to be pressed in 20,000 copies (sold out), a number definitely remarkable if it is true. In 2003, an unreleased album entitled ‘The Darkener’ that was never really meant to be released in the first place as the songs were never recorded professionally and it is actually a collection of demos that have been circulated to a lucky few worldwide, was the only time we ever heard something from Mythra. So ‘Still Burning’ is literally their debut full length almost 40 years after their formation! Once again, as in many bands from their glory days, the combination anthology album and participation on a revival/nostalgic festival was the sign that Mythra are coming with new recordings! In 2015, Mythra performed live at Newcastle’s Brofest and the Keep It True festival in Germany and this was followed by the release of ‘Warriors Of Time’, an anthology which featured many of their of classic tracks recorded between 1979 and 1982 along with five new songs written and recorded in June/July 2015. Fast forward to 2017 that the band travelled to Poland and worked with Bart Gabriel, a producer that really helped them to create a really strong album. As in Cloven Hoof last release (both via High Roller Records) the production is clean and modern and reminds me of Saxon’s and Accept’s last albums -after 2010-. Mythra have reformed with mostly original members something that gives them a unique bond. Still their ace up the sleeve is the fresh air that the new songs have. It doesn’t sound old school or traditional even if there’s a classic metal aura here and there on ‘Still Burning’. Actually there’s an energy on the songs that makes you wonder which the real age of the band members is. The album is guitar driven, lead by excellent riffs and solos that stick to your mind. Highlights the opener title track, ‘A Call To All’ (excellent N.W.O.B.H.M. hymn), ‘Ride The Storm’, ‘Victory Song’ and the closer ‘Fundamental Extreme’ that links the 2003 recorded songs with the band’s present. Record Label: High Roller Records Style: Metal

Limited to 300 copies on TRANSPARENT DEEP-PURPLE VINYL. The sophomore full-length by Norwegian thrash/black metal outfit CONDOR. The band gets its inspiration from old school bands such as Sodom, Sepultura, Sarcofago, Kreator and especially Destruction. Record Label: High Roller Records Style: Trash Metal

The eagerly awaited new studio album will be released on High Roller Records on April 21st NP-Morning-Star2017. The opus is entitled “Who Mourns for the Morning Star”. The superb cover painting was done by Alexander Von Wieding. The acclaimed artist was also responsible for the “Resist or Serve” and “Eye of the Sun” album sleeves. George Call and Danny White make their recording debut with the band on Lead Vocals and Drums respectively. Lee Payne as ever is on bass with Luke Hatton and Chris Coss completing the line up on twin lead guitar attack. Patrick W. Engel handled the production on “Who Mourns for the Morning Star”. He and the band promise it is the greatest Cloven Hoof album to date. Record Label: High Roller Records Style: Metal

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

Mythra is one these N.W.O.B.H.M. bands that defined modern metal even though they had released only one EP. The full of energy and adrenaline compositions, the cult status, the hard to find copies and mostly the speed element that was something innovating and mostly influential for the back then new generation on the other side of the Atlantic Ocean made Mythra, amongst others, something like proto-speed band that gave birth to thrash Metal after a couple of years. The majority of my generation actually heard for the first time Mythra’s songs in 1998 when ‘Death And Destiny’ LP was released via British Steel Records, a time certainly before the real revival of N.W.O.B.H.M. that takes hold for almost a decade right now. But the band was originally formed 20 years ago, in South Shields England in 1978. Their mythical EP entitled ‘Death And Destiny’ (originally pressed in 1979 by Guardian Records and re-pressed by Street Beat Records in 1980) it is rumored to be pressed in 20,000 copies (sold out), a number definitely remarkable if it is true. In 2003, an unreleased album entitled ‘The Darkener’ that was never really meant to be released in the first place as the songs were never recorded professionally and it is actually a collection of demos that have been circulated to a lucky few worldwide, was the only time we ever heard something from Mythra. So ‘Still Burning’ is literally their debut full length almost 40 years after their formation! Once again, as in many bands from their glory days, the combination anthology album and participation on a revival/nostalgic festival was the sign that Mythra are coming with new recordings! In 2015, Mythra performed live at Newcastle’s Brofest and the Keep It True festival in Germany and this was followed by the release of ‘Warriors Of Time’, an anthology which featured many of their of classic tracks recorded between 1979 and 1982 along with five new songs written and recorded in June/July 2015. Fast forward to 2017 that the band travelled to Poland and worked with Bart Gabriel, a producer that really helped them to create a really strong album. As in Cloven Hoof last release (both via High Roller Records) the production is clean and modern and reminds me of Saxon’s and Accept’s last albums -after 2010-. Mythra have reformed with mostly original members something that gives them a unique bond. Still their ace up the sleeve is the fresh air that the new songs have. It doesn’t sound old school or traditional even if there’s a classic metal aura here and there on ‘Still Burning’. Actually there’s an energy on the songs that makes you wonder which the real age of the band members is. The album is guitar driven, lead by excellent riffs and solos that stick to your mind. Highlights the opener title track, ‘A Call To All’ (excellent N.W.O.B.H.M. hymn), ‘Ride The Storm’, ‘Victory Song’ and the closer ‘Fundamental Extreme’ that links the 2003 recorded songs with the band’s present. Record Label: High Roller Records Style: Metal

The sophomore full-length by Norwegian thrash/black metal outfit CONDOR. The band gets its inspiration from old school bands such as Sodom, Sepultura, Sarcofago, Kreator and especially Destruction. Record Label: High Roller Records Style: Trash Metal

The eagerly awaited new studio album will be released on High Roller Records on April 21st NP-Morning-Star2017. The opus is entitled “Who Mourns for the Morning Star”. The superb cover painting was done by Alexander Von Wieding. The acclaimed artist was also responsible for the “Resist or Serve” and “Eye of the Sun” album sleeves. George Call and Danny White make their recording debut with the band on Lead Vocals and Drums respectively. Lee Payne as ever is on bass with Luke Hatton and Chris Coss completing the line up on twin lead guitar attack. Patrick W. Engel handled the production on “Who Mourns for the Morning Star”. He and the band promise it is the greatest Cloven Hoof album to date. Record Label: High Roller Records Style: Metal

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