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Record Label: Soulseller Records Style: Metal

19 years after its original release the classic Norwegian Black Metal album is presented again. With no further introduction needed, the early Norwegian black metal band Gorgoroth had been crushing everything on its path ever since their birth in 1992 and with this, their 4th studio album, things were no different. Introducing Gaahl on vocals on the opening track, and with guest appearances of Frost (Satyricon), Daimonion (Enslaved), Ares (Aeternus) in addition to the reaping vocal performance by legendary singer Pest, all under the supervising leadership of Infernus, the message was clear: total Norwegian black metal destruction! With art directions led by founding member Infernus, “Destroyer, or about how to philosophize with the hammer” now finally sees the darkness according to his wishes 100%. In addition of this special re-issue it comes with exclusive liner notes from Jon “Metalion” Kristiansen, of the mighty Slayer Mag. Record Label: Soulseller Records Style: Metal

After the artistic success of 2015's No Image - which united journalists, musicians, music lovers and even a pro-wrestler in its appraisal - GOLD returns with its successor. Together with producer Randall Dunn (a.o. Sunn O))), Earth, Ash Borer, Marissa Nadler), GOLD have put their angular drive, their blackened guitar textures, and the composed yet vulnerable vocal delivery of Milena Eva in an even broader context. GOLD have created an almost unlimited space for their unique unity of beauty and cruelty to crush and confuse even more. Within her lyrics Milena Eva lays bare her insecurities, internal struggles and self-doubt, as a means to reach out and connect. To ultimately inspire acceptance and love of the self, of the known and of the alien. To resist the apathy as expressed in the album's first lyric - 'Binge-watching the world collapse' - and to include. Thomas Sciarone comments: “Our activism and socio-criticism is strongly rooted in self-reflection and improving our selves. We do not only intend to break down walls and bridge gaps between scenes and genres, but also - more importantly - between people. And if it’s necessary to call out those who want to stand between us, we artistically will. It’s no coincidence that the last shot of the last video we took from No Image shows an awkwardly confident Donald Trump.” With their nonconformist outsider approach, which the New York Times strikingly defined as "serenely intense... near-metal", GOLD has managed to find a previously uninhabited spot that is truly their own. To achieve this in the heart of such a densely populated musical landscape, rather than at its outskirts, is the exciting result of intense years of performing and self-reflection. Optimist is an adventurous confirmation of GOLD’s reputation as an enthralling band, on stage and on record. Record Label: Van Records Style: Metal

The man born Navyvadius Cash is ready to dominate the charts as the 25 year-old Atlanta native's classic mixtapes have put the streets and clubs in his clutches with his first single "Tony Montana." "I'm just coming out, but if you go anywhere in the south," says Future, "I get that love and respect like I have a catalog of LPs under my belt. My mixtapes have had a definitive impact which is amazing and humbling at the same time. Now my music is spreading all over the world. I'm ready to deliver universal hits." Regarding his upcoming Epic debut Pluto, Future states, "The full album is titled Pluto. Pluto is bridging the gap from where I started to now. I make 'astronaut music.' I make music on the highest level. When you listen to Pluto, you'll understand. I'm outta here! The music is more melodic on the album. It's feel good music straight from the soul. It ' music with no boundaries." Record Label: Omerta Style: Hip Hop

Hailing from Denmark, the two piece instrumental noise rock-duo Fossils is one kick-ass combo rarely seen these days. With one bass and a drum kit Fossils use their simple setup to bring forward a storm of energetic, punky and yet unpredictable rock music. Having released one full length called "Meat Rush" in 2011 and the live EP "The Veal Thing" in 2012, playing several shows in Denmark with acts such as Liturgy, ZU, Iceage and Health as well as touring the US, Germany and Iceland, the duo has stirred up a strong reputation as a powerful live band, ready to kick the audience in their head with a firm musical boot of metal and punk infused rock music. As Chris Dowden from the American band Landfill beautifully describes it after witnessing the dynamic duo live in Houston, Texas: "Fossils burned everything I know about music to ashes and pissed on the ashes. It was a great show." Now Fossils have unleashed their second full length, the short, sweet and genuinely pissed off "Flesh Hammer." And what a hammer indeed. This fiery record consists of 20 intense minutes and 10 precise, noisy and ever-entertaining no-bullshit pieces of music produced by Danish sound-enigma Q (Beta Satan, Entombed a.o.) and created by a band that has refined their trademarks: Short creative bursts of pushing yet complex rhythms combined with thunderous riffs striving to create and environment of groove and headbanging as well as unpredictability and surprise. Always interesting and always animating to bang that head, Fossils pour out their unique brand of instrumental, noisy rock'n'roll firmly rooted in punk, metal and hardcore. "Flesh Hammer" was recorded in the band's rehearsal room during five days in July under an almost unbearable hot summer. The band had decided that at all songs needed to be recorded live with no overdubs and only complete takes was acceptable. The idea was to preserve the band's live energy and to cut to the core in regard to sound and expression. No unnecessary effects, just a wall of sound consisting of bass and drums. The production should be simple but massive, like when Fossils perform live. As unique and mad as Fossils are musically, they are visually likewise in an absurd class of their own. The artwork for "Flesh Hammer" is a photograph of the band's logo and the album title laser engraved in original American Beef Jerky (a salted and dried beef meat) done by a sinister tech-wiz in an abandoned Philadelphia factory after midnight. And thereby Fossils continue their tradition for incorporating meat in either titles, visuals and artwork as done on previous releases. Tasty! Record Label: Indisciplinarian Style: Rock

Forging it's own peculiar musical language, told through disjointed exotic rhythms and adventurous wordless vocal explorations, 'Deal' is FAY's boldest work yet moving further away from the pop signifiers of previous exploits. Unified in it's determined minimalism and palette of drum sounds, 'Deal' flexes and shapes these elements to their maximum potential through vast spacial movements that twist and tumble down unknown paths. An almost conversational interplay between drum and voice is at the center highlighting the human element, a primal urgency, guiding these compelling unorthodox electronic compositions. Freewheeling, off-kilter grooves anchor complex choral arrangements as vocal snippets develop into more coherent musical phrases with each measure like dots gradually coming together into a line that you can "see". This singular vocal approach curiously splices innovative digital production with an undeniably human touch resulting in a range of hybrid beauty that reveals itself in unexpected ways. 'Deal' never tips it's hand too far in any one stylistic direction, as deftly busted rhythm patterns tease out loose, playful interpretations of broken boogie ("Touch"), skeletal polyrhythmic dancehall ("Rake"), unhinged hip-hop drum tracks ("Bluff" "Set"), doomed-out dub ( "Call"), and harder to pin down styles - these exhilaratingly restless beat excursions highly reward close and repeated listening. "each broken beat brings the listener's mind with it - fractured in a million directions" - Boston Hassle "Shockingly ace art-pop LP fusing the funk of classic Timbaland with the compositional strategies of John Cage in a shining pop mind." - Boomkat "Pure creativity laid to tape" - Amoeba Records Record Label: Time No Place Style: Electronic

After more than three decades as a lost classic, the debut album by Washington DC soul/gospel outfit Enlightment is finally receiving a proper release. Founded by ordained bishop Larry H. Jordan and his brother-in-law Frank Tinsley in the early 1980s, Enlightment was among the first groups to fuse modern R&B production with gospel themes. Unfortunately, the independent release of their 1984 debut album Faith Is The Key was torpedoed when both their distributor and pressing plant went out of business. “We knew we were getting airplay across the country, but we couldn’t get the product in the stores at the time”, explains Tinsley of the missed opportunity. Only a handful of Faith Is the Key LPs ever made it into the public’s hands. As a result, the record became a holy grail for collectors. It was rediscovered around the year 2000, when copies started selling online for over $2000. While disappointed in the record’s lack of immediate impact, the group’s founders are not surprised by its recent revival. “It’s just good music with a spiritual message, that’s why it stood the test of time,” says Tinsley. “We made sure we had very crystal clear production,” adds Jordan. “We knew we had a gospel beat, but we wanted to be dynamic and innovate.” Thanks to an official vinyl rerelease via Nature Sounds with worldwide distribution, listeners can now experience that innovation first-hand. Record Label: Nature Sounds Style: Soul

Record Label: Red River Exports Ltd Style: Folk Rock

Record Label: Outta Sight Style: Soul

We're going to sing like we mean it, 'cos I mean it this time,' sings James Veck-Gilodi on Deaf Havana's earth-shakingly awesome new single, Sing. I know I took you for granted but I hope I can change my mind...' Sing is the sound of a band channelling three years of frustration into the biggest, boldest statement of their career so far. It takes all of Deaf Havana's traditional qualities - soaring melodies, witty lyrics, an uncanny ability to make an emotional connection with rock's heartland audience - and bolts on a riff so monstrous you can already hear this summer's festival crowds going crazy for it. That riff - which Veck-Gilodi says came from him subconsciously tapping into his inner Smashing Pumpkin - began as a fun doodle in rehearsals. Although the frontman initially thought it was too heavy to ever work in a DH song, he soon realised the band needed to expand its horizons. 2013's brilliant Old Souls album had successfully catapulted the band into the UK rock big league. It crashed into the Top 10 of the Albums Chart, earned rave reviews for its bravura songwriting and saw the band sell out ever bigger venues, appear higher up the bill at festivals and even support Veck-Gilodi's hero, Bruce Springsteen. It made us feel like a proper band,' says Veck-Gilodi, after Deaf Havana's many years on the fringes of the scene. It stepped away from that emo-y world, there were a lot more layers to it and the songwriting was much more mature.' But, behind the scenes, the band were experiencing financial problems and a lack of internal communication that almost broke them. I was very close to quitting,' says Veck-Gilodi, who even launched an acoustic solo career in conjunction with multi-instrumentalist Deaf Havana bandmate Max Britton as a back-up plan. Basically, I didn't want to be in the band anymore.' Veck-Gilodi planned to use the band's 2014 Reading & Leeds performance to pay off the band's debts and act as its swansong. But some sideshows reminded him of how much he - and Deaf Havana's still-burgeoning fanbase - enjoyed his band. A sudden burst of inspired songwriting followed - It's probably the most creative I've ever been,' he says - but these weren't just regular DH songs. Anthems such as Trigger and Seattle demanded that he and his bandmates - Britton, bassist Lee Wilson, drummer Tom Ogden and Veck-Gilodi's guitarist brother, Matthew - strike out for new sonic territory. The end result, Veck-Gilodi declares, will be Deaf Havana's most eclectic and expansive album yet. They're still putting the finishing touches to album No. 4 but they've already cleaned house, taking on new management and signing to a new record label (So Recordings), and they're already benefitting from the new energy' that brings. They're communicating better with each other, they're involved in every aspect of the band's affairs, and they're ready for whatever the world of rock wants to throw at them... This album needs to take us to a higher level,' asserts Veck-Gilodi. Not necessarily in terms of chart positions, because I don't care about that. I just can't wait for people to hear the album. We appreciate the fact that everyone's waited this out with us. It's going to be great.' Because, this time around, Deaf Havana don't just mean it, they mean business too. Record Label: So Recordings Style: Alternative

Record Label: Drumpoet Community Style: House

2x 180g 12" vinyl records, both cut at 45RPM for best sound quality *features original artwork .. *Limited white vinyl edition!! Record Label: Black Screen Records Style: Soundtrack

We are excited to announce that the award-winning video game development studio The Chinese Room and Black Screen Records have teamed up to release Jessica Curry's incredible soundtrack to the indie hit and genre defining video game Dear Esther on limited edition 180g double vinyl just in time for the game's 5th anniversary on February 14th, 2017. The soundtrack comes on two 180g 12" vinyl records, both cut at 45RPM for best sound quality, features original artwork by BAFTA Breakthrough Brit 2016 and The Chinese Room artist Alex Grahame and liner notes by The Chinese Room co-founder and composer Jessica Curry. This vinyl release includes a free Steam key that enables the customer to download the game and the soundtrack for free via Steam. Record Label: Black Screen Records Style: Soundtrack

180g Vinyl + Download-Code Limited Edition of 150 Copies on white Vinyl! Ambient / Experimental After his highly acclaimed "A Requiem For Edward Snowden" LP, Matthew Collings returns with a collaboration with Swedish sound artist Dag Rosenqvist. ,Hello Darkness" is dark and it is bleak and it's fragmented. It feels like those days when you want to just annihilate everything, and then stare at a river. It demands your attention. It sounds like it's breaking from the inside. It's serious. And not. Record Label: Denovali Style: Experimental

“My ambition in all my creative pursuits is to help people lose themselves, whether that’s on a dance floor, in their headphones, or lying on the floor of a loft space.” A delicate collection of songs for losing yourself, a meditation on spiritual struggle, a window into the parallel reality of Justin Carter: The Leaves Fall is all of those things – and probably more. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn, the eight tracks are buttressed by warm acoustic guitars, vibraphones, and organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. The Leaves Fall, set for a February 24th 2017 release date on Mister Saturday Night, was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as half of popular New York party and record label Mister Saturday Night. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations – from remote studios in the Catskills to basements in Venice Beach. The haunting, contemplative "Know It All" is a curious first gaze into the album, not just showing a new side of Carter as an artist, but hinting at the layers still to be unraveled throughout the rest of the album. "Know It All" will be released as a 7" single November 18th on Mister Saturday Night. The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar; cello from Archie Pelago's Greg Heffernan; and programming by LIES and Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dad’s work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkening’s take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens. The album finds its context in the world of Mister Saturday Night in a new event series created by Carter and Harkin called Planetarium, a long form event with live music sprinkled amongst hours of records. An immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces; the album will presented in this manner when toured Record Label: Mister Saturday Night Style: Alternative Rock

(180gr bone white vinyl in gatefold sleeve + download) Slow lingering compositions that require patience and submission, subsequently followed by a deep catharsis.Little is known about Briqueville, its one of the best kept secrets in the Belgian metal scene. Shrouded in mystery and anonymity, their dark and pure aesthetics creates evenness and prevents a cult of personality. Little is known about Briqueville, it's one of the best kept secrets in the Belgian metal scene. Shrouded in mystery and anonymity, their dark and pure aesthetics creates evenness and prevents a cult of personality. In 2014 they released their self titled debut album, with four tracks that all conclude around the 10 minute mark. The band was defined as "the persuasiveness of a steamroller with the instinct of a stamp collector". To emphasize their release they buried 20 copies across the country, gradually releasing the coordinates. The music demands to be experienced live. Slow lingering compositions that require patience and submission, subsequently followed by a deep catharsis. After a successful tour through Belgium and the Netherlands, the second album, aptly named "II", will be released on February 24th, 2017. Produced by Sebastian Omerson (Pornorama) extra production by Robin Aerts (Het Zesde Metaal). Mastered by Dimitri Andreas (The White Cabin). Art installation by Herman De Vries Record Label: Brisk Style: Metal

Black-and-red marble color vinyl limited to 1500 units! Record Label: Sacred Bones Style: Electronic

Limited to 300 clear double vinyls in a gatefold sleeve. Record Label: Nuclear Blast Style: Heavy Metal

"Anti Ritual is a new four piece band from Copenhagen, Denmark who formed in late 2013, by the looks of things. Anti Ritual is comprised of members who are veterans of the Denmark hardcore and metal scene, with members playing in bands that include Lack and Rising. Right off the bat, I had high expectations for this album because I was a huge fan of Lack. Let's just say that this 12" totally exceeded my expectations. Anti Ritual play a killer style of politically charged music thaty incorporates elements of hardcore, punk, crust, sludge, and noise rock within their sound. Anti Ritual can be loosely compared to bands such as Trap Them, Nails, Deathrite, and Seizures. Anti Ritual also gives nods to classic hardcore/crust bands such as Tragedy, His Hero Is Gone, and Cursed. This is the band's debut self-titled six song 12" which is slated for release via Vendetta and Indisciplinarian records on April 28th, 2014. Overall, Anti Ritual have absolutely nailed it here and offer up six songs of brutal and punishing music that results in a dark, powerful, and uncompromising listen. Seriously, this 12" is the best thing I've heard all week." ( manic compression ) Record Label: Indisciplinarian Style: Hardcore Metal

2LP - This deluxe double 150 Gram Vinyl edition Housed in Gatefold Sleeve with Download features 7 demo songs recorded in the bands garage on a reel to reel Tascam 388 recorder. Record Label: Pias UK/New West Records Style: Alternative

Over the past 15 years, Alasdair Roberts has released eight albums of self-written material and interpretations of traditional song alike, all played in a diversity of electric and acoustic arrangements, bringing a modern thrust to the music. Following the acoustic austerity of his self-titled 2015 release, Alasdair's applied himself to electric guitar and band once again for his ninth album, Pangs. Alasdair Roberts and Friends were deep within the epic song approaches of the widely-acclaimed A Wonder Working Stone (2013) when last heard creating music of such scope. While similarly broad in range, Pangs brings different forms of song-craft and modes of collaboration again. Throughout his career, Alasdair has deftly woven his own songwriting with traditional song melodies to create original and personal music. Pangs finds Alasdair in a power trio with his long-time musical partners Alex Neilson and Stevie Jones, and along with guests Debbie Armour, Tom Crossley, Rafe Fitzpatrick and Jessica Kerr, they summon up a powerful - and powerfully gorgeous - storm over ten new songs. With swift drums, sharp and spirited fiddle, electric guitar and even a synthesizer played by Ali, The Downward Road is a boisterous introduction to all that Pangs offers! It's one of his most driving pieces of music ever - dare we say, it rocks! Alasdair's roots run deep and his sound is conversant with the many iterations of the music from the past, but it is simultaneous present and active in our contemporary milieu. This is vitally true of Pangs - the people of today are in dire need of the edification and amusement that Alasdair Roberts brings! Record Label: Drag City Style: Singer / Songwriter

180 GRAM AUDIOPHILE VINYL GATEFOLD SLEEVE Roy Wood is an English singer-songwriter and multi- instrumentalist. He was particularly successful in the 60s and 70s as member and co-founder of The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these bands. The BBC has described Wood as being "responsible for some of the most memorable sounds of the Seventies" and "credited as playing a major role in the Glam Rock, Psychedelic and Prog Rock movements". In 2008, Wood was awarded an honorary doctorate for his contribution to rock and pop by the University of Derby. In 2015, his long and eclectic career was recognized with the "Outer Limits" award at the Progressive Music Awards in London. Wood will be inducted into the Rock and Roll Hall of Fame in 2017 as a member of Electric Light Orchestra. Boulders is the first solo album by Roy Wood. Apart from harmonium on track one played by John Kurlander, all the instruments (including guitars, cello, saxophones, recorders) and voices were recorded by Wood, who also wrote, arranged, and produced the entire album, and did a selfportrait for the front cover. Originally issued on Harvest, the album peaked at No. 15 in the UK Albums Chart. Two singles were taken from the album, "When Gran'ma Plays the Banjo" and "Dear Elaine". The latter reached No. 18 in the UK Singles Chart. Record Label: Music On Vinyl Style: Singer/Songwriter

Record Label: Supreme Chaos Style: Metal

Record Label: Supreme Chaos Style: Metal

Split release - sleeve printed inside out - heavy, printed innersleeves with lyrics - 180g vinyl Record Label: Van Records Style: Metal

As we mentioned before, Siamese will not just be a platform for beautiful music but should also a playground for different kinds of art. As you might have already noticed, our artworks are images of hand-crafted pieces and with this Various Artists EP we are taking things one step further. Every track gets its very own artwork and all four artworks will be included as 30x30cm sized prints inside the first run of the vinyl! The A1 cut 'Something In Between' by ourselves is starting off this EP. Right about one year ago when we worked on a first attempt of our debut album we didn't quite came to an end a few tracks stayed with us. This is one of them and we felt the intro character of it is a good way to lead into this series. A2 is delivered by our close friend and partner Lehar who teamed up with Olderic, a respected DJ, producer and promoter from north Italy who is around since quite a while (check out his Cirq club in Venice). Their contribution 'Il Sole' follows the melodic route initiated by 'Something In Between'. On the flip side we finally get the chance to introduce Shiffer, a young and very talented musician from Basel. 'Drunk On Hope' demonstrates groove, emotion, depth and much more that makes it the perfect pick for B1. Watch out for more to come from him on Siamese! Closing the EP on B2 is ‚Monkey Mind' by Toto Chiavetta. 2016 was a great year for Toto, what an awesome album on Yoruba followed by a trippy-afro-house Record on Innervisions. 'Monkey Mind' continues exactly there, straight forward Groove without any compromises. Record Label: Siamese Style: Techno/House

Limited Edition on piss yellow, purple and orange splatter 180g Vinyl incl. Digital Download Card Record Label: Dymaxion Groove Style: Alternative Rock

Record Label: Rockport Style: Hard Rock

At the beginning of the 1980s, there were two home grown acts dominating the German Metal scene. The Scorpions had just released their heaviest album ever: »Blackout« in 1982. The same year the mighty Accept had issued their own masterpiece »Restless And Wild«. However, there was a third band with huge expectations. They were all over the German rock press, destined to become the next big thing in Teutonic Metal. Of course, we are talking about the legendary Trance here. Trance were originally formed in 1978 under the name of Age (with vocalist Lothar Antoni having been active since 1974). With the classic line-up of Lothar Antoni (vocals), Markus Berger (guitar), Thomas Klein (bass) and Jürgen Baum (drums) Trance recorded their first 7" single entitled »A hard Way to go« (with “Haze in the Twilight” on the flipside) in Stuttgart's Zuckerfabrik. “ Age was the forerunner to Trance,” says Lothar Antoni. “It was not the same band but some of the musicians involved were the same. Age did play different material than Trance later on. Musically, it was also quite different stuff. I'd say it was a mixture of Krautrock and hard rock. There was no heavy metal in Germany at this point in time. It was us, with Trance a bit later on, who defined heavy metal in Germany. No Age songs turned up on the first two Trance albums. »Break Out« and »Power Infusion« were written in a relatively short time span. Both albums included brand new material.” As early as 1981, the band from Edenkoben in Southern Germany was a very active live act (playing up to 150 gigs a year!), winning several local rock competitions in the process (for example in Rüsselsheim, and becoming runners-up in Ludwigshafen). “Yeah, we were indeed a very active live band. It's true to say that our biggest following was in the South of Germany but we did make it to the North and to the Ruhrpott area as well. And we played in Berlin three or four times. This was when the wall was still up. You basically needed a passport to travel through the German Democratic Republic. It was virtually foreign territory for us Southerners.” In June 1982, Rockport issued one of the best debut albums in the history of German Metal. »Break out« was a true masterpiece and sold in more than respectable quantities all over Europe and on import in the States (Rockport was just a small German independent label). The first German edition of Aardschok magazine was full of praise: “'Loser' is one of the best rock songs ever composed.” Who would disagree? But there was even more to discover: the uptempo opener “Break out” for example or “Burn the Ice” with its Scorpions-like guitar riff. Even the closing ballad “Baby Child” had a certain appeal although being the weakest of nine outstanding tracks. “Well, what can I say?,” asks Lothar when asked about the sheer brilliance of a song such as “Loser”. “When composing songs for Trance we always took great care in not repeating ourselves. Each and every song had to be different. Trance took influences from stuff other rock bands were not daring to touch upon. We never copied any ideas from other bands per se – becoming sort of a cover act was never our aim. This made us such a unique band.” Although signed to the smallish indie label Rockport, Trance was one of the leading metal bands of the early 1980s. “That's what people tend to forget,” knows Lothar Antoni. “It was a totally different time. But it was Accept, the Scorpions and us representing German Metal in 1982 and 1983. That's 30 years in the past now. But Trance was indeed a huge band back in the day. If you take a look at the magazines of the time, there was Trance, the Scorpions and Accept all over. We were flying the flag for German Metal. And this also was the case when talking about foreign countries. In England, for example, our record was available on import and sold in respectable quantities. We also reached the independent charts in the UK. Record Label: Rockport Style: Hard Rock

Under the motto "grab something unfamiliar," I like to dive into the lake of releases of the lesser known obscure bands. This time I came across Tomb Mold. This duo from Toronto makes a lovely game of "rotting" Death Metal. Their first demo was a lot of interest because of last year reissued by Blood Harvest. Fortunately, this will now follow in the form of a brilliant debut. The men pull out a delicious horror keg and they managed to volley the sinister chord in this release. The production is bloated and despite the considerable clarity in manufacturing know they keep the raw rim of fat well into their sound. The fine grooves through. Delicious technical riffs are supported by clumsy pounding riffs. The vocals are very low and I find it a pleasant growl, which enhances the atmosphere of the album. There is plenty of tempo changes in the numbers. So do not just uptempo rammerij but doom / death band will bits where many being jealous. Listen once again the genius' Bereavement of Flesh. " It's just simple: Tomb Mold brings Primordial malignity a brute unpolished masterpiece out. Tasty such discoveries. Seven songs (outro not included) of a high standard! Record Label: Regain Records Style: Metal