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Black Sabbath Master'
Master Of RealityRanked 298/500 On Rolling Stone Magazine's 500 Greatest Albums of All Time.
Black Sabbath's classic 1971 album Master of Reality is arguably the heaviest release of the band's legendary career, and certainly one of the most influential. Features the proto-metal gems Sweet Leaf and Children of the Grave.1. Sweet Leaf
2. After Forever
4. Children Of The Grave
6. Lord Of This World
8. Into The Void$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Black Sabbath CoversWhen Jason Molina took on another artist's song, he willed his own universe into it, his own
personal and artistic mythology. Be it Conway Twitty or Townes Van Zandt, their blues were
infused with Molina's own entrancing blues. This pair of newly discovered, home-recorded
Black Sabbath covers is no different. Molina, a through-and-through fan of metal (seek out his
high school metal band the Spineriders' album if you haven't yet) peels back the sinister and
stoned elements of Sabbath, zeroing in on the loneliness and brooding.
He takes "Solitude,"
from 1971's unfuckwithable Master of Reality - and one of Sabbath's more mystical, near-proggy
songs - and doubles down on the title. Molina extracts Ozzy Osbourne's gorgeously
cooed vocal performance and transforms it into a high and lonesome sound, a desert campfire
howler. And on his cover of "Snowblind, from 1972's Vol. 4, it becomes obvious what a guitar
hero Sabbath's Tony Iommi was for Molina. Molina seemed to pull from Iommi's odd, simple
fingerings and tunings throughout his catalogue: from his first album (known informally as "the
black album") to Magnolia Electric Co.'s Josephine. Molina's brief acoustic cover dials back the
bombast, but you can surely connect "Snowblind"'s chord progressions with Molina's own on
the black album and Axxess & Ace.
Recorded in the midwest in the late '90s, during Molina's
multi-season run of batting 1.000, these two intimate songs are a bittersweet artifact of one of
the Rust Belt's titan songwriters.
Note: Do not attempt to play Side B of this 7" release. Side B is a gorgeous etching of a
black ram by artist Will Schaff. If you do attempt to play the etching on Side B it will sound
absolutely awful.1. Solitude
2. Snowblind$9.997 Vinyl Single - Sealed Buy Now
Master Of Reality (Deluxe Edition)Ranked 298/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The group's third album, Master of Reality, arrived in 1971 and introduced fans to essential Sabbath tracks like Sweet Leaf and Into The Void. The 2-LP deluxe edition builds on that legendary album with versions of Children Of The Grave and Sweet Leaf that have different lyrics. There is also an instrumental version of After Forever and an outtake for Solitude that features an alternative guitar tuning.LP 1
1. Sweet Leaf
2. After Forever (including the Elegy)
4. Children Of The Grave
6. Lord Of This World
8. Into The Void
1. Weevil Woman '71
2. Sweet Leaf (Studio Outtake Featureing Alternative Lyrics)
3. After Forever (Studio Outtake - Instrumental)
4. Children Of The Grave (Studio Outtake feat. Alternative Lyrics)
5. Children Of The Grave (Studio Outtake - Instrumental)
6. Orchid (Studio Outtake - With Tony Count-In)
7. Lord Of This World (Studio Outtake feat. Piano & Slide Guitar)
8. Solitude (Studio Outtake - Intro With Alternative Guitar Tuning)
9. Into The Void Spanish Sid (Studio Outtake - Alternative Version)$31.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Closer To HomeImport
Produced by Terry Knight, Closer To Home is Grand Funk Railroad's third studio album, and was released in 1970. The album reached Gold record status the same year, making it the group's third Gold record in one year. The album's inside artwork shows a live photo of the band performing at Madison Square Garden in February 1970.
Closer To Home was the record that really broke them through to the commercially successful level of Metal masters such as Led Zeppelin and Black Sabbath. Rather than rushing headlong into their typical hard, heavy, and overamplified approach, Grand Funk Railroad began expanding their production values.
Most evident is the inclusion of strings, the acoustic opening on the disc's leadoff cut, Sins a Good Man's Brother, as well as the comparatively mellow Mean Mistreater. But the boys had far from gone soft. The majority of Closer To Home is filled with the same straight-ahead rock & roll that had composed their previous efforts.1. Sin's A Good Man's Brother
2. Aimless Lady
3. Nothing Is The Same
4. Mean Mistreater
5. Get It Together
6. I Don't Have To Sing The Blues
7. Hooked On Love
8. I'm Your Captain$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Lunar Strain (Awaiting Repress)In the metal world, In Flames has served as a bridge between the death metal/black metal underground and the more melodic power metal of Iron Maiden, Judas Priest, and Queensrÿche. Originally released in Europe in 1994, In Flames' debut album, Lunar Strain, attracted an interesting mixture of death metal/black metal, power metal, and thrash metal enthusiasts. Like the early releases of At the Gates, Lunar Strain helped write the book on what came to be known as melodic death metal -- an approach that combines death metal elements (extreme vocals, blastbeats) with the type of intricacy, musicality, and craftsmanship one expects from old-school masters like Dio, Maiden, Priest, and Black Sabbath. Most death metal favors brutality for the sake of brutality, but Lunar Strain does not govern by brute force alone and is -- by power metal standards -- much more accessible than the albums that extreme bands like Cannibal Corpse, Deicide, and Carcass were coming out with at the time. In 1994, the best was yet to come for In Flames; even so, this was a promising debut that had a major impact on melodic death metal and symphonic black metal.
- Alex Henderson (All Music Guide)1. Behind Space
2. Lunar Strain
5. Everlost, Pt. 1
6. Everlost, Pt. 2
8. In Flames
9. Upon an Oaken Throne
10. Clad in Shadows$22.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Rose WindowsDouble LP Gatefold With Insert
Rose Windows began in late 2010 in Seattle. On their debut album, The Sun Dogs, the band incorporates elements of The Band, The Doors' organ-driven psychedelia, and Black Sabbath's dirges, along with Persian, Indian, and Eastern European music. Rose Windows have toured the West Coast several times, fluidly sharing the stage with underground art-metal bands one night and popular indie Americana acts the next. The Sun Dogs was engineered and produced by Randall Dunn (SunnO))), Boris, Earth) at Avast!, March-May 2012, and mastered by Jason Ward at Chicago Mastering Service.1. Bodhi Song
2. Glory, Glory
5. Strip Mall Babylon
6. Come Get Us Again
7. The Old Crow
8. Aurora Avenue
9. A Pleasure to Burn
10. Hirami$18.99Vinyl LP - Sealed Buy Now
Speak Loud Say NothingRecorded and mixed by Fester at Haywire Studios, mastered by Stephen Hawkes at Interlace Audio.
Closing in on its third year of existence, the Portland, OR two-piece scrap-metal monster Wizard Rifle featuring Sam Ford and Max Dameron is set to release its 5-track neutron acid bomb of a debut Speak Loud Say Nothing on Seventh Rule Recordings. Drawing from the sounds of Lightning Bolt, Karp, Sonic Youth, Black Sabbath and High on Fire, Wizard Rifle cannot sit still sonically for more than two seconds.1. Tears Won't Soften Steel
5. Leathery Gentlemen$14.99Vinyl LP - Sealed Buy Now
Your Turn to Remember: The Definitive Anthology 1970-1990 (Pre-Order)
Re-Mastered By Renowned Engineer Andy Pearce Of Lou Reed And Black Sabbath Fame
New Liner Notes From Original Founders/Members Mick Box And Ken Hensley
BMG are delighted to announce the
Double LP release of URIAH HEEP's,
Your Turn To Remember: The Definitive
Anthology 1970-1990. Evoking an era
when prog, hard rock and heavy metal
co-existed in an era of glorious, boundarybreaking
music, the songs trace the
evolution of Heep from inexperienced
studio musicians with everything to prove
to bona fide, limo inhabiting rock stars.
The Anthology cherry picks tracks from
some of Heep's most celebrated albums
including Demons And Wizards, Look At
Yourself, Return To Fantasy, Equator,
Conquest and The Magician's BirthdayLP 1
2. Bird of Prey
3. Lady In Black
4. Look at Yourself
5. July Morning
6. Easy Livin'
7. The Wizard
9. Sweet Lorraine
11. Sweet Freedom
12. Suicidal Man
1. Return to Fantasy
2. Devil's Daughter
5. Free 'n' Easy
6. Free Me
7. Woman of the Night
8. Come Back to Me
9. It Ain't Easy
10. Too Scared to Run
11. The Other Side of Midnight
13. Voice On My TV$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
The Best Of Crow
Pure Rock N' Roll From The Midwest On 180 Gram Vinyl!
With a lowdown bass lick, uptown R&B horns and surging organ punctuating a catchy chorus, "Evil Woman (Don't Play Your Games With Me)" hit the Top 20 like a comet in 1969 and propelled Crow from Midwest club band into national touring act overnight. Thanks in part to covers by Black Sabbath and Ike and Tina Turner, it's one of the most recognizable hits of the era and, inexplicably, one of the few to not make the transition into the digital age. Until now.
Out of print for four decades, Crow's finest recordings are now available again on CD and 180-gram vinyl editions meticulously mastered from the original tapes. Long-suffering Crow fans can at last savor the best of the band's gritty run from 1969-1971, including not only "Evil Woman," but their other charting singles "Cottage Cheese," "Slow Down" and "(Don't Try to Lay No Boogie Woogie on the) King of Rock & Roll" -- not to mention deep album cuts like "Keeps Me Running." Both formats also feature a previously unreleased demo cover of the Beatles' "When I Get Home," and the CD edition adds a previously unreleased long version of "Cottage Cheese." Each edition comes fully equipped with memorabilia, photos and detailed liners by Doug Sheppard of Ugly Things magazine.1. Evil Woman
2. Gonna Leave A Mark
3. Time To Make A Turn
4. Slow Down
5. I Stand To Blame
6. Cottage Cheese
7. (Don't Try To Lay No Boogie Woogie On The) King Of Rock And Roll
8. Easy Street
9. When I Get Home (previously unissued demo recording)
11. Keeps Me Running$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Anthropos''Woke up at dawn and felt a presence, nature spirits, observing me. Looked out through the window. Black shape. I went to the nearby forest and the journey had begun.Without a direct way, I went through the woods and crossed mountains. Suddenly elated by light, I was under the raven's wings. Numb. Awakened by a thud and the silhouettes of the three. Embrace. The circle was complete.'' -- Mother of God
Born in 2008 and raised on rock in Morgårdshammar, Sweden, the four-piece Mother of God cast off a lot of the retro '70s mentality of their countrymen in favor of a more modern approach.Well, 20 years more modern, anyway. Mother of God no doubt have some appreciation for the finer things in '70s rock - there are beards to prove it - but musically they incorporate influences from grunge and the heavy grooves of the early '90s. Bands like Soundgarden and Alice in Chains mesh their downtrodden grunge melodies alongside classic inspiration drawn from Black Sabbath and Led Zeppelin.
These might sound like familiar elements - at least the names ring out - but Mother of God bring their own emotional spin to their Small Stone debut, Anthropos, and never quite cooperate with what you think they'll do next. The band has released two prior EPs - 2011's Forging a New Path and their debut - and they recorded and mixed Anthropos in BorlÄnge with Erik Nerback, Chris Goosman mastered, and Sanna Albenius, Robin Gnista and Alexander von Wieding provided art and layout design.
In addition to festival appearances at Getaway Rock, Wacken Open Air in Germany and Peace & Love, Mother of God have shared the stage with YOB, Dozer, Graveyard, Imperial State Electric and more, and they'll look to continue their live domination in Scandinavia and beyond in support of Anthropos, shoving their eclectic sound and undeniable hooks right in the faces of everyone who thinks they know what heavy rock should sound like.1. 2 3 0
3. The Forest
4. Aim For The Sun
6. To Live
9. Something From Below
10. R. McCord
11. Lucy$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
VesselThe first track of Vessels, "Fear the Followers", comes in with tight frantic riffing coupled by a stark immediate thrash part. The song, bordering on hardcore underneath, is screamed in two separate distinct voices; one being a screechier version of the lower growls. A strict delivery of sharp metalcore is prevalent. But then the middle dips into some Sabbath swings before further slowing with cymbals crashing and synths.
Track two, "Buried in the City", however exploits the notion of the riff and just goes full throttle doom metal. The tidal journey is engrossing, barbaric! Without rehashing any hacked riff, Cokegoat comes in with snarling bit of doom metal. It carries significant weight as a tribute to classic sounds while approaching them differently. The layered vocal and galloping metal guitars spark the energy of the finish.
"Dogs" contrasts that with a cosmic synth aura and a taut minimalist riff approach for a tense 3 minutes. Then the explosion of a sinister 1970's free-wheeling riff takes center stage. All of which are to be manipulated into an Unsane, Faith No More ("Malpractice, "Caffeine") ugly place. Eventually, among static shorelines, we get a dreamy recoil into a bluesy meandering.
Cokegoat begs you to pinpoint them, not by album but by the minute.
There are continuous bounces from Strife type hardcore intros (I swear) to scathing black metal nods. Usually bands that boast that spectrum of influence are raw and crusty and loose in the production. This is tight as sutures. Andy Nelson of Weekend Nachos engineered this and Carl Saff (Unsane, Red Fang, Earthless) mastered the final sound for this. Not surprising. Heavy is a key factor in Vessels.
Vessels is one hell of a debut. This bitch has balls. But quickly flashes some groove. "The End of Your Life Pt 2" is controlled chaos. It also is one of two 2-part songs. Yeah. This is foresight, ambition, ardor and grit in this album. Here we have "three guitarists, three voices, synths, bass and drums," kept on a production leash that adds an urgency to the manic time changes. Which crush. The atmospheric layers are just touches. They add mood but never take center stage. This is about riffs, but Cokegoat know where to accent their talents as well.
FFO: Sons of Otis, Type O Negative, Monster Magnet, Electric Wizard, early Baroness, Mastodon, Black Tusk, Moss, ASG, The Gates of Slumber, Earthride (Hutch)
- New Noise Magazine1. Fear the Followers
2. Buried In The City
4. End of Your Life, Pt. 1
5. End of Your Life, Pt. 2
6. Fly by Night, Pt. 2
7. Fly by Daylight
8. Glorious Dead$18.99Vinyl LP - Sealed Buy Now
Secret Treaties (Speakers Corner) (Awaiting Repress)
Back in the days of hard rock and surrounded by fierce competitors with such great names as the Doors, Black Sabbath and the Rolling Stones, a band had to attract attention with far more than histrionic pathos, biker boogie, an adept lead guitarist and a sharp-tongued singer. The band Blue Öyster Cult, founded on Long Island in 1971, possessed all this and much more, relating short scenarios in their lyrics, which conjured up people's imagination. Rolling Stone magazine enthused that it was »like listenin' to Hitchcock and Kubrick swap stories about their wet dreams«, and that the group »mix aesthetics and ass-kicking rock to such good advantage«.
In their third studio album Secret Treaties, BÖC reached the pinnacle of their musical evolution with such memorable songs as Career Of Evil, Subhuman and Astronomy. The lyrics have literary value but are certainly not intended for sensitive souls - the phrases are direct and intentionally drily articulated. The music is as blatant and extroverted as the lyrics: the guitar sound is steely and straightforward, occasionally padded out with a see-sawing Hammond groove, and topped again and again by wonderfully rough string solos that speak the language of hard, merciless and full-bodied rock.
- Eric Bloom (guitar, keyboards, vocal)
- Allen Lanier (keyboards, guitar, synthesizer)
- Donald 'Buck Dharma' Roeser (guitar, vocal)
- Joe Bouchard (bass, vocal)
- Albert Bouchard (drums, vocal)
Recording: 1974 by Tim Geelan and Jerry Smith
Production: Murray Krugman and Sandy Pearlman
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.1. Career of Evil
3. Dominance and Submission
4. ME 262
5. Cagey Cretins
6. Harvester of Eyes
7. Flaming Telepaths
8. Astronomy$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Savages (Discontinued)Max Cavalera is the walking embodiment of creative energy, of all of the diverse layers of urgency that are possible from that select few whose artistic output defines genres. Mystic shaman, protest singer, revolutionary hero, everyday metalhead, furious consumer of heavy music of all shades, husband, father, leader, songwriter Cavalera reigns as the adoptive tribal chief of a generation of fans, stretching from the roughest slums of South America to the coldest confines of Russia. Anywhere that people are disenfranchised, the songs of SOULFLY serve as their anthems.
Armed with Cavalera's four-stringed guitars, unmistakable growl and instantly recognizable riffage, the muddy tones and constant rhythmic bounce of SOULFLY has retained its gritty edge while pushing the boundaries of what's possible in metal. »Savages« represents a career-defining moment, solidifying the lineup with longtime lead guitarist Marc Rizzo (who has been in SOULFLY almost as long as Max was in SEPULTURA), bassist Tony Campos (Static X, Ministry, Prong) and Max's 21 year-old Zyon, who splits his time between drumming in LODY KONG and now SOULFLY.
"All of the things that make SOULFLY killer are combined in Savages," Max declares.
»Savages« melds the most brutal, the heaviest and overall the most vibrant components that made up each record in SOULFLY's diverse catalog. By Max's own account, »Savages« is possessed of the tribal groove of the first two SOULFLY albums, particularly in songs like 'Bloodshed', 'Ayatollah of Rock 'N' Rolla' and 'Master of Savagery'. But there's also the thrash metal that was found on DARK AGES and OMEN; whereas the CAVALERA CONSPIRACY records contain short, punky bursts, the new SOULFLY record gets into the epic length territory of early METALLICA. The death metal vibe of SOULFLY's »Enslaved« emerges in songs like 'Fallen' and 'Cannibal Holocaust'.
"I really like the name »Savages«. I like single words that sound powerful, like 'Primitive', 'Roots', 'Arise'," Max explains. "It's about the human condition right now. We have the Internet and we're working on missions to Mars, but we are still decapitating each other and blowing up marathons. We're still savages. Even with technology and how far we've come in the world, our spirit is still that of a savage."
A trailblazing pioneer and musician with millions of albums sold who nevertheless retains boundless street cred due to his grimy, raw and undeniable authenticity; Max Cavalera is one of the most prolific artists the realm of heavy music has ever known. There's CAVALERA CONSPIRACY, which reunited Max with his brother and former bandmate, Igor Cavalera. There was the brutal attack of NAILBOMB, Max's collaboration with Alex Newport from FUDGE TUNNEL, which included members of DEAD KENNEDYS, FRONT LINE ASSEMBLY, BIOHAZARD and NEUROSIS on-stage. There's his forthcoming band with members of THE DILLINGER ESCAPE PLAN, MASTODON and THE MARS VOLTA. Of course, there's Max's unassailable work as SEPULTURA's founder, leading the Brazilian band from their badass lo-fi beginnings, through their era of sophisticated thrash classics, up through the cultural landmark that is 'Roots'.
SOULFLY began almost instantaneously after his departure from the band he founded. The eponymously titled debut »Soulfly« sold over 500,000 copies in the United States alone, further expanding upon the tribal foundation of 'Roots' with percussive instrumentation, forays into esoteric sounds and multiple guest performers. Across the seven albums and never-ending tours that followed, Max worked with a who's-who of the heavy music scene as band mates, guest musicians and touring members, including guys from SLIPKNOT, SLAYER, MEGADETH, DEFTONES, RADIOHEAD, STONE SOUR, CYPRESS HILL, MACHINE HEAD, DEVILDRIVER, FEAR FACTORY, MORBID ANGEL, THROWDOWN, S.O.D., SKINDRED, BORKNAGAR, WILL HAVEN and CATTLE DECAPITATION, among others.
In addition to Max's own self-production, a number of important producers have lent their skills to SOULFLY, including »Roots« producer Ross Robinson (KORN, AT THE DRIVE-IN), Toby Wright (Ozzy Osbourne, SLAYER), Andy Sneap (MEGADETH, KILLSWITCH ENGAGE), ex-SOULFLY guitarist Logan Mader (FIVE FINGER DEATH PUNCH, GORJIA) and Zeuss (HATEBREED, SUICIDE SILENCE) and Terry Date (PANTERA, DEFTONES).
Cavalera asked Date, who had mixed for SOULFLY in the past, to produce the new album. Once studio time with the legendary producer was on the calendar, Max kicked into high gear with the material. Max and Zyon worked on the songs that would comprise »Savages« at home. "Zyon came up to me and said, 'Give me a shot. I'll play on the record for you. I won't let you down," explains the elder Cavalera. "I went into a room with him to jam and it felt great. So I said, 'Fuck yeah, let's do it!"
Generally on a SOULFLY album, the drummers would learn the songs in the studio, based on demo recordings from Max. This time, Max had the luxury of working out the songs at home with Zyon. "We jammed every single day for a month. He knew 90% of the material already when we got into the studio. It reminded me of recording the old Sepultura stuff, like Arise and Chaos A.D., Igor knew exactly what he was going to do before we went into the studio. This was very similar."
Cavalera says he must've written at least 1,000 riffs specifically for »Savages«. "The killer riff is what hooks the whole song together," he says. "For me the writing process is about finding the most killer riffs possible. It's a battle; sometimes I struggle with the guitar for hours. You have to throw it down on the floor and take a break. Come back a few hours later. 'Let's try this again, motherfucker!' Grab it again and go to battle, go to war with the guitar until you get the right riffs."
Max points to BLACK SABBATH's 'Symptom of the Universe' as one of the penultimate riffs of all time, citing SABBATH's Tony Iommi and METALLICA frontman James Hetfield as among the riff-masters he most admires. "I think of riff making as an art-form. I take it really seriously. I think it deserves more attention. It has such value."
Speaking of riffs, Rizzo came into the band a decade ago and his love of thrash metal, death metal and collaborative spirit has energized Max ever since. "When Marc entered Soulfly, it was a drastic change. He's the guitar player I've been looking for my whole life. Andreas [Kisser] and I really clicked when we worked together. I never had that again after that. We had other guys that were cool, but it was never 100% there. When Marc came in, I found it! We've developed a great bond since." Rizzo particularly shines on the opening track on Savages, 'Bloodshed.' "There's stuff all over the song - clean guitars, feedback - he just makes the song better."
Campos has a lengthy resume in the world of metal and Max says they bonded over their shared Latino heritage, among other things. "I had this idea about this guy Vargas, a Venezuelan cannibal, they call him 'El Comegente.' He's the Hannibal Lecter of the Andes. We both read about it. Tony sings some of it in Spanish and I sing in Portuguese. He's a great bass player too, fucking amazing. Killer bass tones, distortion, all balls-out metal. He keeps this shit real heavy, great tone. It's great recording with guys who know what they're doing. I don't have to ask if they know."
Max acknowledges the inherent risk in putting a 21 year-old behind the kit for such an important record, but it was a risk he absolutely wanted to take. "To have my son drumming on the album, that's killer. I like risks. I like to start shit up and see what happens. Even if I fail, at least I knew I tried. Rather than knowing I didn't try at all. To me, that's the bigger failure. It took a little bit of courage to put my son on it. I came to the studio and told Terry there was a young drummer who doesn't play to a click. Terry knew what to do and Zyon did great. The drums sound amazing."
Like all things Max Cavalera, does SOULFLY's »Savages is a family affair. Not only does it mark Zyon's recorded debut with the band, but one of Max's other kids throws down some vocals in the opening track, 'Bloodshed'. "My son Igor has a killer punk rock voice that reminds me of the old CORROSION OF CONFORMITY days," Max says. "The chorus has this old punk style riff, almost like a MISFITS type riff. His voice is killer."
Like every SOULFLY album, »Savages« contains an impressive guest list comprised of veterans and up-and-comers. CLUTCH's Neil Fallon turns up on 'Ayatollah of Rock 'N' Rolla', the title of which was inspired by Mel Gibson's classic Mad Max 2: The Road Warrior movie. Jamie Hanks from I DECLARE WAR brought his high and low deathcore vocals to 'Fallen', a death metal oriented song Max says is in the vein of CANNIBAL CORPSE.
Mitch Harris from NAPALM DEATH contributed vocals to 'K.C.S.' Harris has been around the Cavaleras long enough that there are videos of him changing Zyon's diapers when SOULFLY's new drummer was just one month old. "Mitch came to the studio just to hang out during a day off from tour," Max explains. "I'm like, 'You ready to sing some shit on this record?' I put him on the spot. He's like, 'Right now?' I said, 'Fuck yeah, let's do it!' There was one point where we were recording together where he did a scream and I saw his eyeball popping out of his face like a cartoon. I was like, 'Dude that was the most metal thing I've seen in a long time.'"
Even as Max continues to consume new music from band like NINE INCH NAILS, MAN MUST DIE, TRIGGER THE BLOODSHED and I DECLARE WAR, even as he revisits seminal material from METALLICA, SLAYER, C.O.C. and the like, and indulges his penchant for world music, and gets his hands in his other projects and collaborations, it all adds up to a singular, distinct, straightforward and riff-heavy machine known as SOULFLY.LP 1
2. Cannibal Holocaust
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
1. This Is Violence
3. El Comegente
5. Fuck Reality (Bonus Track)
6. Soulfly IX (Bonus Track)$24.99Vinyl LP - 2 LPs Sealed Buy Now
The Oath (Awaiting Repress)To master the dark and wring compelling creativity from its densest shadows requires vision, belief and, perhaps most importantly, a dash of synchronicity. These are all qualities that ooze from every pore of the debut album by The Oath. A band forged around the fizzing, feral chemistry between Swedish guitarist Linnea Olsson and German vocalist Johanna Sadonis, The Oath represent the wild magic that erupts when two blazing souls collide and fate is sent veering off course by sheer strength of the human will. This is heavy metal at its most mercurial and intuitive.
"I had grown tired with the metal scene in Stockholm, and I wanted to experience something new and get out of my comfort zone," Linnea Olson recalls. "This resulted in me going to Berlin, a city where I had no friends, and just exploring everything that makes it so magical the creative energy, the sense of freedom, and the notoriously dark and debauched nightlife. I played my guitar as usual at home, and riffs started to pile up. By the time summer came, I felt the time was right to start a new band. My best friend Henke put me in touch with Johanna. On her end, she had been looking for a guitarist for a band that she wanted to call The Oath. We had an instant connection. And we looked almost identical."
Having found each other and discovered that their obsessions, desires and musical urges were utterly compatible and swiftly and irrevocably interwoven, Linnea and Johanna set about devising an artistic masterplan. The results of that plan are now primed to emerge, fully-formed and thrumming with primal energy and pristine passion, in the shape of The Oath: a nine-song clarion call that simultaneously recalls the hallowed greats of heavy rock, punk and metal - from Sabbath, Trouble and Angel Witch through to the Stooges and Poison Idea, and further to Mercyful Fate and Danzig - while revelling in new ways to express the spirit of those revered archetypes. Recorded in ten days at Studio Cobra in Stockholm with producer Konie Ehrencrona at the controls and the raging rhythm section of Simon Bouteloup (bass, Kadavar/ex-Aqua Nebula Oscillator) and Andrew Prestidge (Angel Witch/Winters) underpinning Linnea and Johanna's otherworldly hymns to the black, The Oath is a triumph for soul and sonic ceremony, with conviction and integrity bursting from every artfully-crafted riff and ethereal melodic motif.
"We had a die-hard dedication right from the beginning - if not, what's the point?" states Linnea. "As for the master plan, there was none. If things fall into place naturally, you don't need one. We felt that this was our shot, and we needed to go for it. We wanted this album to be primitive and minimalistic in the sense that the sound is fairly raw, and we kept overdubs to a minimal - most of what you hear on the album are live takes. But we also wanted to bring out the melody and richness that is within the songs. And these are all strong songs, which is very important to us."
Veering from the strident grooves and shimmering menace of opener All Must Die to the breakneck, Luciferian clatter of Black Rainbow and on to the spine-tingling grandeur and grime of epic closer Psalm 7, The Oath is anything but just another addition to the modern pseudo-occult rock canon. Instead, it is an extraordinary glimpse into its creators' overpowering charisma and chemistry and a thrillingly, hyper-nourishing dose of authentic, 21st century heavy metal sorcery. With input from In Solitude's Henke Palm - who contributes some "improvised Voivod-style solos", according to Linnea - and logo designed courtesy of Watain's Erik Danielson, this is an album that exudes ageless style and irresistible substance: a potent antidote to the flimsy fripperies of the modern age.
"This album represents Johanna and me and our dedication to our music," Linnea avows. "Everything about this band is about me and her - our relationship to each other, our differences as people and musicians, and the unity that we are in The Oath. She possesses strengths that I lack and the other way around. Musically, my riffs are the dirt and her vocals, the diamonds. I have a friend who cleverly put that the world is made up by two kinds of people: the werewolves and the vampires. By that standard, I am a werewolf and Johanna is a vampire. You can interpret that as you like."
And now, this new ritual begins. The Oath has been sworn, the dice have been thrown. All that remains is the propagation of the divine but unholy art that these sisters-in-sound have wrenched from the depths of their harmonised psyches. The future belongs to those who believe
"There are a lot of hopes, plans and ambitions," Linnea concludes. "But what's even more important is that there is only now and that now is forever."
- Dom Lawson, January 20141. All Must Die
2. Silk Road
3. Night Child
4. Leaving Together
5. Black Rainbow
6. Silver and Dust
7. Death Delight
8. In Dream
9. Psalm 7$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Killing MachineKilling Machine on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Smoking-Hot 1978 Set Released as Hell Bent For Leather in the United States
Produced by Pink Floyd The Wall Engineer James Guthrie: Uncompromising Album and Exacting Performances Remain Hard Rock and Metal Bedrocks
Marries Streetwise Aggression to Commercial Accessibility, Overflows With Confidence, Boldness, and Diversity
Includes Metal Standards Hell Bent for Leather, Evening Star, and Delivering the Goods
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
Released the same year as the equally pivotal Stained Class, Killing Machine cemented Judas Priest's standing and reputation as the world's foremost metal band of the late 1970s. Further diversifying its music and sporting increased confidence, boldness, and full-bodied songwriting, the album managed a then-unprecedented task of appealing to mainstream tastes via its impeccably solid production, creative prowess, and staggering melodies. Known in the United States as Hell Bent for Leather, Killing Machine remains a titanic release no matter the name.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Series numbered limited edition LP broadens the scope of the original production, helmed by none other than Pink Floyd The Wall producer James Guthrie. Besting those on all previous editions, the low-end thrust, high-frequency dynamics, and all-important midrange now come alive with unsurpassed detail and accuracy. Soundstaging and imaging positively explode before your eyes and ears, and instrumental separation allows insight into band's tight-fisted interplay.
Recognizing the era's potential and pushing to expand metal's horizons, Priest created music that at the time hadn't any peer. With proto-metal luminaries Black Sabbath, Deep Purple, and Led Zeppelin experiencing career low points, and campy hard rockers following a softer path, the English quintet married street-bruising intensity to commercial accessibility without compromising any aggression, volatility, rawness, or ruggedness. Part of the success owes to Guthrie's expert hand. A majority, however, lies with the group's unrelenting ambition and variety-not to mention masterful performances.
Exemplified in the breakthrough "Hell Bent for Leather," as tough-as-nails resilient as any metal song and delivered by vocalist Rob Halford with a pronounced ruffian attitude as guitars blaze behind him, Killing Machine sparks with high-powered muscle and concise, exact rhythmic structures. Halford comes into his own throughout, sending his falsetto into another universe on the wide-open highway-driving anthem "Evening Star," evoking deep loss on the ballad "Before the Dawn," and attacking "Delivering the Goods" as if he's a mercenary. There's not a wasted note or moment of doubt on the album.
To author and metal expert Martin Popoff, music doesn't get any better. "To my mind, Killing Machine was the apex, the hallowed halls of heavy metal which Priest summarily occupied alone at this particular juncture in time," writes Popoff in his The Top 500 Heavy Metal Albums of All Time. "The songs on this record sweat the corners and creases of all of metal's characteristics, Priest firing on and off all speeds, from quick and note-dense to positively glacial."
This title is not eligible for discount.1. Delivering the Goods
2. Rock Forever
3. Evening Star
4. Hell Bent for Leather
5. Take on the World
6. Burnin' Up
7. Killing Machine
8. Running Wild
9. Before the Dawn
10. Evil Fantasies$24.99Vinyl LP - Sealed Buy Now
Die Healing (Awaiting Repress)"Die Healing" featuring original SAINT VITUS vocalist Scott Reagers! This is essential doom!!!!
Recommended if You Like: BLACK SABBATH, TROUBLE, COUNT RAVEN, CANDLEMASS, THE OBSESSED, HIGH ON FIRE, SLEEP, BARONESS, MASTODON, SIR LORD BALTIMORE
Die Healing is a pivotal point in Vitus' discog; not only their very last before they temporarily ended their relentlessly classic doom metal album releases with a thirteen year hiatus, but their third recording with Scott Reagers, who helped make the eponymous debut, Hallow's Victim and EP The Walking Dead such milestones of doom. And what a way to go out. Many will tell you this is actually Saint Vitus' finest moment, and although I favour the debut and Wino's career zenith Born Too Late above it, there is no doubt it deserves as solid a place in the pantheon of doom as Nightfall or Master Of Reality or In The Rectory Of The Bizarre Reverend.
The band's sound and instrumentation is class without question. The guitar tone saw a slight departure from the fuzz prevalent on Wino-albums (including the 2012 opus Lillie: F-65), with something more of an electric edge familiar to C.O.D. Fret not, the tone is still plenty burly, and of course massively appropriate for the toking of vaporous substances.
The guitar solos are likewise a little clearer - though of course solos like on 'One Mind' and 'Return Of The Zombie' have that inimitable Chandler scaling chaos in spades, squeaking like a dozen metal detectors malfunctioning. In general though the album's sound gives the feeling of the band moving forward with the sound established on the underappreciated, Chritus Linderson-assisted C.O.D., while welcoming their original singer back into the fold as easily as if he'd never left. It comes together brilliantly.
What cements the album's place atop the pile of '90s Vitus releases is that it's a lot more solid than V and C.O.D. in terms of songs, chock full of highlights with nary a skippable track. 'Dark World' heralds absolutely no messing about, a timeless slow burn Saint Vitus classic to get you going. Reagers unlocks his trademark moon-touched howls, boosted here with a gruffness and depth that must have come with age. He can still hit the unnerving highs that made the debut such a unique piece. Not to mention his more aghast and tragic-heroic style is accompanied by a lyrical shift toward tales of horror and myth, adding further colours of yore to the band's solidified musical approach (although 'In The Asylum' is as brilliantly witty a tale of human disintegration as anything Wino has written for Vitus).
Some of the great knells peeling off Chandler's guitar in the main riff of 'Let The End Begin' are highlights for Vitus' entire career. It climaxes with a great rocking section, splashed with sumptuous guitar and bass solos, in a move actually quite uncharacteristic for the band, who tended to steer between leadweight trawling songs and more rambunctious cuts. The eerie build on 'Sloth' is another of the band's best moments. The entire song, with its off-kilter structure and wailing chorus, is an example of just how muscular the band's creative fibers were at the time. 'Return of the Zombie', a quasi-sequel to the classic, shifty song off the debut of course, makes its mark with a crazed vocal performance and some spooky effects. And of course there's more, I've just listed a few real standouts but the album is too generous in its blessings for them to be exhaustively listed.
It's just a really solid album that builds on all the best things the band had done to date while keeping the songwriting fresh. What a swansong this was. This album is the reason Lillie: F-65 had such vast expectations from me. A must have.
- joncheetham88 (Metal Archives)1. Dark World
2. One Mind
3. Let The End Begin
4. Trail Of Pestilence
6. Return Of The Zombie
7. In The Asylum
8. Just Another Notch$21.99Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
A Place Where There's No More PainLife Of Agony emerged from the New York music scene in the early ‚90s with one of the most distinctive
sounds in its genre. Best known for its 1993 metal/crossover debut River Runs Red, the band instantly
built a die-hard, cult following. For over two decades, the group toured relentlessly all over the world,
sharing stages with the biggest names in rock, including Metallica, Black Sabbath, Ozzy Osbourne, Foo
Fighters, and The Red Hot Chili Peppers. After the much-praised Ugly (1995), LOA opted for a highly
energetic alternative rock approach on Soul Searching Sun (1997) and Broken Valley (2005) - the latter
produced by Greg Fidelman (Slipknot, Metallica). Life of Agony has sold over one million albums to date.
In 2016, LOA signed a deal with Napalm Records to record the group's 5th studio album, titled A Place
Where There's No More Pain. Rolling Stone hailed it as „One of the Most Anticipated Albums of the Year".
The album is produced by Matt Brown & Life Of Agony and mastered by Ted Jensen (Alice in Chains,
Machine Head, Deftones). The drive and intensity these ten blistering new tracks possess, surpass all
expectations that built up in the past 12 years - a cathartic Sturm & Drang experience for the listener that
matches the ferocity of River Runs Red with gut wrenching rock melodies. Raging guitar riffs, heartfelt
lyrics and killer grooves mark the return of LOA's signature sound and turn A Place Where There's No
More Pain into a passionate, soul-searching affair.
The highly emotional lyrics by singer Mina Caputo link all songs by the four-piece together, then and
now: born as Keith Caputo, she had her Transgender coming out in 2011, changed her name, but kept
her inimitable style of writing deeply from the heart. „And I just want to disappear and hide," she sings
and shines a light on the path of all lost souls - while steadily walking her own. „Many of our fans have
told us over the years that sharing our personal struggles has been cathartic for them in healing the pain
in their own lives. That uplifting energy we share at the shows, gives us hope that there's light at the end
of the tunnel. And for us and hopefully our fans, that short time when we're all together is a place where
there's no more pain."1. Meet My Maker
2. Right This Wrong
3. A Place Where There's No More Pain
4. Dead Speak Kindly
5. A New Low
6. World Gone Mad
7. Bag Of Bones
8. Walking Catastrophe
9. Song For The Abused
10. Little Spots Of You$19.99Vinyl LP - Sealed Buy Now
BurnFor 1973s Burn, Deep Purple founders Ritchie Blackmore, Ian Paice and Jon Lord recruited the amazing vocal talents of rising new comer David Coverdale (Whitesnake and Coverdale/Page) and power bassist/vocalist Glenn Hughes (Trapeze/Black Sabbath/Hughes Turner Project/Black Country Communion) for what turned out to be one of their best known and respected albums in their huge catalog.
Commonly referred to Purple fans as the Mark III line up, this dream team to this day is often considered one of the finest hard rock outfits of all time. The term arena act began with bands like Deep Purple in the '60s and '70s, and these masters of the game have carried the torch ever since!
Filled with heavy metal anthems like the title track Burn, Might Just Take Your Life, Mistreated and the hard rockin You Fool No One, Deep Purples Burn is still revered as one of the finest hard rock/metal albums of our time, as it truly shines in this audiophile vinyl domain.
Impeccably mastered from the original Warner Bros. tapes by Deep Purple enthusiast/reissue producer Joe Reagoso, this limited edition masterpiece continues the extensive Deep Purple 180 Gram Audiophile Series here at Friday Music.
Friday Music has also included the original candle cover artwork as you remember it from the first pressings issued over three decades ago, housed in a nice poly bag, as well as a poly lined record sleeve for the vinyl.1. Burn
2. Might Just Take Your Life
3. Lay Down, Stay Down
4. Sail Away
5. You Fool No One
6. What's Going on Here
8. A 200$31.99180 Gram Audiophile Virgin Vinyl LP Buy Now
We Sold Our Soul For Rock 'N' Roll (Out Of Stock)This is a super high quality and absolutely beautiful vinyl collector's edition re-issue of the 1975 Greatest Hits collection from the original forefathers of heavy metal, Black Sabbath. We Sold Our Soul for Rock 'n' Roll features the original lineup including Ozzy Osbourne on vocals and the songs are selected from the band's recordings up through 1975. While relying heavily on material from Black Sabbath, Paranoid, and Vol. 4, it also includes four tracks from Sabotage, Sabbath Bloody Sabbath and Master of Reality.1. Black Sabbath
2. The Wizard
5. War Pigs
6. Iron Man
7. Wicked World
8. Tomorrow's Dream
9. Fairies Wear Boots
11. Sweet Leaf
12. Children of the Grave
13. Sabbath Bloody Sabbath
14. Am I Going Insane [Radio Edit]
15. Laguna Sunrise
17. N.I.B.$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Temporarily out of stock