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UNIM-CAP-7951xNine Inch Nails
ADD VIOLENCENine Inch Nails' new EP, ADD VIOLENCE, is set for release on vinyl via Capitol Records. The five-song collection is the second in a series of three related EPs. The first, Not The Actual Events, was released in December of 2016.
ADD VIOLENCE finds the band (Trent Reznor and Atticus Ross) becoming more accessible and impenetrable at the same time. The sonic palette expands significantly from Not The Actual Events, incorporating elements of beauty into the dark dissonance. The narrative arc linking the three records begins to emerge through the disassociated lyrics and the provocative and clue-filled cover artwork.1. Less Than
2. The Lovers
3. This Isn't The Place
4. Not Anymore
5. The Background World$21.9912 Vinyl EP - Sealed Buy Now
Violence, ViolenceAfter a well received demo and a debut 7 that sold 2,000 copies in less than a year, Ceremony gives us Violence Violence, their 15 song debut full length. If Ruined was their declaration, Violence Violence is their first wave assault, a soundtrack to wage war. A war against everything that hardcore has stood against, but now has been co-opted into its ranks. There's no TRL song on here, there's nothing that'll be heard at a school dance. Hardcore for the hardcore.1. Violence
3. Living Hell
4. My Hands Are Made Of Spite
7. Bite Down
8. Cross Them Out
10. Clouds Of Fire
11. Pressure's On
12. Walking Home
13. Asleep$16.9912 Vinyl LP - Sealed Buy Now
Holographic ViolenceIn the five years since Grave Babies' debut album Deathface was released, founder Danny Wahlfeldt has been handling all songwriting and recording duties for the Seattle-based band, with invaluable help from friends in performing their material live. For their newest album entitled Holographic Violence, Wahlfeldt chose a different path, causing a significant change in the band's overall sound.
Holographic Violence is Grave Babies' second Hardly Art full-length after Crusher (2013), and further explores the themes of nihilism, the pending doom of mankind, and shaming humanity, which the band has been building their gloomy reputation on since the beginning. This time however, instead of recording everything in his basement, Wahlfeldt enlisted the help of Bryce Brown (Crypts) on bass and Mark Gajadhar (Blood Brothers, Past Lives) on drums in the early stages of recording. The songs on Holographic Violence fell into place in Mark's studio on Orcas Island, Washington. Mixing was handled by Matt Bayles (Alice in Chains, Mastodon), with final mastering by Chris Common (Chelsea Wolfe, Mars Volta). As a final touch, Claire Haranda was added to the lineup on keyboards and synth to round out the band's live sets. By leaving the edgy, lo-fi haze of earlier output in the past, these songs have clarified what the music of Grave Babies has to offer the future.
That is, if humanity has a future?
"I wanted it to be a last cry for sanity going into our dystopian future," Wahlfeldt says about Holographic Violence. Grave Babies has long held a crush on morbidity, death, and corruption, building a romantic relationship around the juxtaposition of the dark contextual matter with hook-heavy songs rife with pretty melodies and harmonies. The 11 new songs on Holographic Violence present this powerful combination from a science fiction perspective, begging the question: has our imagination outpaced the confines of our reality as we keep going down the same path, believing there's hope? Playing anthemic pop songs with a strange male choir-esque sound to the vocals adds a distinctly cultish feel to the abrasive exercise of figuring out if it is possible to circumvent destructive human predispositions.
Thus, Holographic Violence is a lesson in authenticity as we must look deeper into the subject matter for the finer details, instead of skimming the surface and believing we have things right at a mere glance. Maybe we just have to come to terms with the fact that the things that we're constantly running away from are inherent in ourselves and inescapable? Grave Babies mission is not to find the answers to these questions, but to challenge the listener and on Holographic Violence, their uncompromising aesthetic makes the suffering a little prettier.1. Eternal (On & On)
2. Beautiful Lie
3. Try 2 Try
4. Something Awful
5. Punishment (Only A Victim)
6. Metal Me
7. Pain Iz Pleasure
8. Positive Aggression
9. N2 Ether
10. Concrete Cell
11. War$14.99Vinyl LP - Sealed Buy Now
Gods Of ViolenceGods of Violence is the upcoming fourteenth studio album by the German thrash metal band Kreator, set for release via Nuclear Blast. It will be the band's first studio album since Phantom Antichrist (2012), marking the longest gap between two studio albums in their career.
Kreator mastermind Mille Petrozza comments: Gods Of Violence was the first song I wrote for this album and it stuck to me as the title track. It contains everything KREATOR is known for and it will blow your minds. Promise! Regarding the artwork Petrozza adds: The cover is a perfect reflection of my lyrical vision. I think this is Jan Meininghaus' best work so far.1. Apocalypticon
2. World War Now
3. Satan Is Real
4. Totalitarian Terror
5. Gods Of Violence
6. Army Of Storms
7. Hail To The Hordes
8. Lion With Eagle Wings
9. Fallen Brother
10. Side By Side
11. Death Becomes My Light$29.99Vinyl LP - 2 LPs Sealed Buy Now
Call By NightWymond Miles was raised in the working-class small towns of the American
West. On Call by Night, the singer's latest widescreen opus, Miles masterfully
evokes that lost landscape, all while grappling with issues of fatherhood, privacy,
PTSD, violence, and dissipated romance. The album adds a critical new chapter
to the Fresh & Onlys guitarist's story as an artist, and reasserts him as a major
voice in contemporary songwriting.
Call by Night sees Miles building a noticeably bigger sound than on his previous
solo records, while simultaneously standing as his most intimate work. It's a
record explicitly written for the fidelity of the vinyl format, with louder songs
beginning each album side and quieter songs at the interior. His attention to
sequencing paid off; the album flows like a piece of classic cinema, and sounds
like it's splashed across a drive-in screen in 70mm. Recorded using vintage gear
by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco
and Miles' Garden Chamber home studio, the record is a treasure of tube-amp
warmth, and a landmark in the songwriter's catalog.
Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar
and cinematic synth playing that helped define his earlier efforts is still present,
the beating heart of the songs is left more open thanks to his new method. Where
previous full-lengths were cloaked in distinct aesthetic choices, this record exists
outside of any stylistic restraints. "Divided in Two," the lead single, considers
dignity, class, honor, and father-son relationships through the devastating lens of
PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts.
The title track explores the enduring aesthetic of British psych-folk. Other songs
dip into the traditions of gospel music, sea shanties, and even big-box power
ballads, using antique instruments and Miles' unique perspective on the modern
world to forge a new collection of entries for the American songbook.
Miles has said the songs on Call by Night mark his "more definitive commitment
to seek, listen, and give voice to an enduring muse." If that's true, then the muse
has obviously been singing to him loud and clear.1. Summer Rains
3. Solomon's Song
4. Call By Night
5. Bride of the Lamb
6. Divided in Two
7. Rear View Mirror
8. Stand Before Me
9. Devil's Blue Eyes$19.99Vinyl LP - Sealed Buy Now
Comb The Feelings Through Your Hair
a revelation -- dynamic, hooky, energetic!
The '90s indie rock lashings of Grooms, add a
reminder to dust off your Polvo/SY LPs
...some of the most exciting new sounds the
Kings County has to offer."
Having lived, worked, and created in the ever evolving Williamsburg neighborhood of Brooklyn for over a
decade, native Texan Travis Johnson has felt the direct impact of the growth and dissolution that comes
with rapid gentrification. His band Grooms practiced, and recorded at Brooklyn's Death By Audio for
seven years (first as Muggabears, then as Grooms) before they were forced out of their spiritual and
literal home in November 2014 when DBA shut its doors. A little over a year before, with the band's
income not providing enough money to support any of its members, bass player and co-writer Emily
Ambruso went on hiatus from the band, leaving Johnson as the only original member. Despite these
unfortunate blows, Johnson soldiered on, soon recruiting Jay Heiselmann on bass, and actor/comedian
Steve Levine on drums.
After months of experimenting with sound collages, samples, and electronic beats, the band recorded an
obsessively detailed and melodically complex album, with a heavy focus on mood and texture. Unlike
their previous album Infinity Caller (which Speedy Ortiz's Sadie Dupuis called ...an exercise in explosion
and restraint hallmarked by sweeping guitars, stuttery drums, and cryptic, airy vocals...) many of the
songs on Comb... bring the band's rhythm section to the fore, and Johnson's trademark guitar stylings
often take a backseat to his psychedelic sample-collages and ambient electronics. Fortunately the new
approach works, balancing pop structures with masterful experimental production that shifts in tone and
color in harmony with Johnson's tales of acceptance, loneliness, and impotent violence.
On Comb..., that violence is most evident on Something Wild, a song about destroying the high-priced
waterfront condos that contribute to the rising cost of living in neighborhoods like Williamsburg and
Greenpoint, and then feeling conflicted about it. Love is the subject matter on Bed Version (a song
which Johnson describes as a fantasy about seeing the joy in my girlfriend's face as she realizes she's
not cosmically alone.), and the album becomes wistful on Cross Off (a remembrance and longing for
the good old days when Ambruso was still an active member of the band), but even on these songs
Levine's alternately Krautrock and Elvin Jones-inspired drums, and Heiselmann's propulsive bass help to
maintain the album's intense atmosphere. Album standouts like Comb the Feelings Through Your Hair
and Doctor M deliver head-bobbing pop hooks as Johnson ponders his long-term struggle with
addiction, while other songs, Savage Seminar, Will the Boys?, and Grenadine Scene from Inside,
explore the thoughts, and feelings of fictional characters in the films Magnolia, Lost Boys, and Steel
Whether singing from a fictional or personal perspective, Johnson's songs on Comb... are all loosely
about letting go of bitterness and resentment. Like the Brooklyn neighborhood where he lives and works,
his internal real estate is constantly being reevaluated, razed, and rebuilt. Fortunately his personal
growth has yielded an album that attentive listeners will find relatable and consistently rewarding.1. Bed Version
2. Comb The Feelings Through Your Hair
3. Cross Off
4. Something Wild
5. Doctor M
6. Half Cloud
7. Will the Boys?
8. Savage Seminar
9. Grenadine Scene From Inside
10. Foster Sister
11. Later A Dream$16.99Vinyl LP - Sealed Buy Now
REDD-NAC-2959xMexican Institute Of Sound
PoliticoNacional Records is excited to announce the vinyl release of Mexican Institute of Sound's (M.I.S.) critically acclaimed,
DJ-favorite albums 'Politico,' 'Pinata,' 'Mejico Maxico and 'Soy Sauce.'
Politico, the fifth full-length album by Mexican Institute of Sound (producer and songwriter Camilo Lara) is an album that almost wasn't. In 2011, an enormous amount of the explosive C4 was discovered next door to Lara's residence -- it was set to be detonated; by whom and for what purpose was never determined. In a recent interview, Lara said that he didn't deliberately set out to go into politics, but that politics had come to his house. These 13 songs, composed and assembled by Lara, address the chaos, destruction, tragedy, and violence that have become all-too-familiar elements in Mexican lives. Politico is a statement in the same way that the Clash's Sandinista! or the Sex Pistols' Never Mind the Bollocks were, but it isn't nostalgic. Nor is it sonically similar to either. Longtime fans of MIS may have some initial issues because there are vocals on almost every tune. But not only do they not they detract from the set's appeal, their urgent expressions add to it. While the topical nature of these songs is undeniable, it doesn't mean this isn't a fun record. Quite the opposite. Lara isn't didactic in his lyrics; these are personal observations, and in that way, carry more weight than slogans. His unique compositional style makes them musically irresistible, and compelling. He uses Mexico's and Latin America's folk forms -- cumbias, descargas, sons, corridos, mariachis, bandas, rancheras, cha-chas, rhumbas, pachangas, and more -- and hard welds them to slamming beats, layered melodies, and infectious keyboard grooves, all via a staggering yet organic-sounding mÉlange of samples from rock & roll, hip-hop, funk, house, disco, techno, etc. Check the wild marimba samples that introduce the melody to Tipo Raro, which originally appeared in the film Made in Mexico. Lara retains the melody throughout, but busts it from its context; he runs head-on into multi-tracked Farfisa organs, a deeply distressed beat, four-on-the-floor loops, rapping, and a brittle bassline that fires directly from the center. Especulando is a driving, funky electro jam. Es-Toy uses accordion and darkly tinged double trombones (à la Willie Colón), a pulsing organ, and chanted vocals. Despite its skittering dance beat and its mariachi horns, Más is pure, frenetic punk rock. Politico is easily the most sophisticated record in the MIS catalog. This is political music without apology; it's also frenzied dance party music that's virtually peerless. - Thom Jurek (All Music Guide)
M.I.S. tours the world performing at major festivals like Coachella and Lollapalooza, with a wide range of
high-profile television and videogame uses, including HBO 'Entourage' & 'East Bound & Down,' as well as
'Californication' and videogames like EA Sports' 'FIFA' and the new 'Grand Theft Auto V', for which he curated
one of the radio stations 'East Los FM.'
The sound of old Mexican cumbias, boleros and mariachi tunes scrambled with samples, effects and beats.
- NEW YORK TIMES
Camilo Lara works the electro-dance scene like the James Murphy [LCD Soundsystem] of Latin America.
Think Hot Chip visiting the Buena Vista Social Club; think traditional samples with bells and beats; think a
sweaty indie-dance party. - CMJ1. Politico
7. Ceci n est Pas Une Automate
8. Se Baila Así
9. My Buddy @julps
10. Tipo Raro
11. Ritmo Internacional
12. Cumbia Meguro
13. El Jefe$21.99Vinyl LP - Sealed Buy Now
Scream Above The SoundsTwenty years after their debut 'Word Gets Around' and six #1 albums later, Stereophonics are set to release their new album 'Scream Above The Sounds' on Parlophone Records.
Their 10th studio album, 'Scream Above The Sounds' follows 'Keep The Village Alive' which went straight to #1 when it was released in 2015 - their sixth chart-topper after 'Performance and Cocktails' (1999), 'Just Enough Education To Perform' (2001) 'You Gotta Go There To Come Back' (2003), 'Language. Sex. Violence. Other?' (2005) and 'Pull The Pin' (2007).
Stereophonics consists of founding members Kelly Jones (vocals/guitar) and Richard Jones (bass) along with Adam Zindani (guitar) and Jamie Morrison (drums). Long-term keyboardist Tony Kirkham joins the band for live shows.
Kelly said of the songwriting process that he began to write "big, anthemic songs that are rallying against those anxious feelings that have flooded through cities. Every song offers a sense of release," he says. "Even when there's nostalgia, fear or anxiety, they're still all offering hope and room to manoeuvre."
The first single 'All In One Night' represents the band's affection for the melancholy. Set to a consistent mid-paced rhythm which evokes a nocturnal motorway drive, it finds the narrator's life taking a dramatic turn as night brightens to day. Influenced by the Sebastian Schipper film 'Victoria', it's a song that had an unusual genesis - Kelly started it when the band had an unscheduled day's stay in China before he finished it back home in London. Even the atmospheric call of the chorus was fortuitous, being an adaptation of a vocal exercise he was using.
'Scream Above The Sounds' was primarily recorded in the band's HQ in west London with a further session at RAK Studios. Created with the help of regular collaborator Jim Lowe, it's an album in which creative sonic touches add to the band's emphasis on songwriting and melody.1. Caught By The Wind
2. Taking A Tumble
3. What's All The Fuss About?
5. All In One Night
6. Chances Are
7. Before Anyone Knew Our Name
8. Would You Believe?
9. Cryin' In Your Beer
10. Boy On A Bike
11. Elevators$21.99Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
The Evil Divide (Out Of Stock)Three decades into their celebrated career, Death Angel remain as hungry as ever.
As a result, uncompromising urgency and unpredictability define the Bay Area thrash quintet's eighth full-length album, The Evil Divide [Nuclear Blast]. The group-Mark Osegueda [vocals], Rob Cavestany [lead guitar], Ted Aguilar [guitar], Will Carroll [drums], and Damien Sisson [bass]-satiate the appetite for buzzsaw speed riffs, double bass mayhem, and scorching vocals over the course of ten new anthems.
"I want every record of ours to always sound fucking hungry and desperate," declares Mark. "An injured animal is a dangerous fucking animal. We feel that. We're always striving for more and put everything into it until our bodies give out."
"We know who we are," adds Rob. "We're dedicated to this sound for both the fans and ourselves."
In order to siphon that energy, the group re-teamed with producer Jason Suecof [Trivium, Deicide] for the third album in a row. They traded Northern California for Suecof's Florida stronghold, Audio Hammer Studios, during two months in the fall of 2015. Following three consecutive records together, this lineup gelled more than ever while recording.
"You could feel it," continues Rob. "Everything was so much smoother in all regards. We progressed as a unit, and we all got on the same page pretty quickly. It makes recording and playing even more fun."
"We're collectively focused," says Mark. "Rob and I have grown a lot as songwriters, and the entire band is tighter than ever. We knew what to expect sonically with Jason, but we wanted to push things in a different direction. The production and drum, bass, and guitar tones are more organic. He's got such a great ear and nailed it. It's like we confidently hit our stride."
The first single "Lost" intersects a hypnotically haunting refrain with a chugging percussive groove, dropping the melody like a guillotine between fret-burning leads.
"Everybody feels lost at some point in their lives," explains Mark. "It's that sense of self-awareness or lack thereof that comes through in the lyrics. No one's immune to it. That time can be a fleeting week or a matter of years where you don't know what's going on. Music is a way to get it out and a vessel to vent. It's a universal thing." Opener "The Moth" whips from a galloping guitar death march into a battle-cry. Boasting a lyrical contribution from Rob, it name checks the album title in the chorus.
"Mark really breathes life into what I wrote," says Rob. "We have a great time collaborating and bouncing ideas off each other."
"The world is in such an odd state," sighs Mark. "There's always division, but these days it's wild. People are attacking each other for no reason. That's why I love metal. It's an amazing community, and people get into it for no other reason but the passion for music. It's the one thing we can retreat to."
"Cause for Alarm" volleys between a crossfire of six-string prowess, while "Father of Lies" closes on a haunting acoustic outro, illuminating the music's expanse and declaring another creative victory for the group.
The Evil Divide stands out as the culmination of thirty-plus years of music for Death Angel. It kicked off with legendary debut, The Ultra-Violence, in 1987. The classic Frolic Through The Park began to cement their legacy and even earned the distinction of landing on Loudwire's list of the "Top Ten Thrash Albums NOT Released by The Big 4." The group broke up following 1990's Act III only to reunite in 2004 on Art of Dying for the next generation. A powerful trifecta followed. In 2010, Relentless Retribution boasted a cameo from virtuosos Rodrigo y Gabriela, while 2013's The Dream Calls For Blood bowed at #72 on the Billboard Top 200, selling 5,400 copies first-week and earning the group's first-ever entry onto that respective chart. Beyond continued public praise from the likes of James Hetfield of Metallica and Robb Flynn of Machine Head, the band's music has popped up everywhere from Carl's Jr. commercials to Leatherface: The Texas Chainsaw Massacre III. Their fire burns brighter than ever in 2016.
"If you're a casual fan, I hope you really get it on this album," Mark leaves off. "If you've been with us since the beginning, I want you to see we aren't messing around. We're still Death Angel."1. The Moth
2. Cause For Alarm
4. Father Of Lies
5. Hell To Pay
6. It Can't Be This
7. Hatred United, United Hate
9. The Electric Cell
10. Let The Pieces Fall
11. Wasteland$25.99Vinyl LP -2 LPs Sealed Temporarily out of stock