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  • A Presentation Of Gruesome Poetics A Presentation Of Gruesome Poetics Quick View

    $12.99
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    A Presentation Of Gruesome Poetics

    Washington State's THE DRIP roar onto the scene with a blasting EP of filthy, angry grind produced and engineered by Joel Grind of Toxic Holocaust. An absolute must for fans of all of the ferocious forefathers of grind-Napalm Death, Nasum, Rotten Sound, etc. This is a relentlessly skull crushing record of pissed off, high energy, barbaric grind. This hate is timeless. First press of the vinyl version comes with a totally sick etching on the b-side.
    1. Catalyst
    2. Rise To Failure
    3. Bygones Only Burn Once
    4. Black Screen
    5. Siren
    6. Lash In, Lash Out
    The Drip
    $12.99
    Vinyl LP - Sealed Buy Now
  • Mass & Volume Mass & Volume Quick View

    $19.99
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    Mass & Volume

    Recorded during the final hours of the sessions for the 'Phantom Limb' lp (Decibel Magazine's #1 record of 2007) 'Mass & Volume' finds Pig Destroyer's typically break neck speed virtually come to a grinding halt. 2 epic songs of crushing doom prove that Pig Destroyer cannot only dominate all other wickedly fast grind bands, but that when Pig Destroyer does slow, they do slow better than anyone else out there. If Pig Destroyer were to completely change gears and become a full time doom band, they would be the best doom band in the world. Until then we all have 'Mass & Volume' to hold us over.
    1. Mass & Volume
    2. Red Tar
    Pig Destroyer
    $19.99
    Vinyl EP - Sealed Buy Now
  • Species At War Species At War Quick View

    $14.99
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    Species At War


    12 Vinyl Cut At 45 RPM


    Limited To 800


    Finland's kings of grind Rotten Sound give us 'Species At War', a stop-gap EP to bridge the wait from 2011's Cursed and their next full length. 6 songs of world class, blistering grind.

    1. Cause
    2. The Game
    3. War
    4. The Solution
    5. Salvation
    6. Peace
    Rotten Sound
    $14.99
    12 Vinyl EP 45 RPM - Sealed Buy Now
  • Point Blank Point Blank Quick View

    $34.99
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    Point Blank

    Import


    180 Gram Audiophile Vinyl


    Insert


    Nailbomb was a side project by Sepultura's Max Cavalera and producer/engineer Alex Newport in the mid-1990s. Point Blank is their only studio album, originally released in 1994 by Roadrunner Records. The album combines the thrash-metal fury of Sepultura with the robotic industrial clangor of Fudge Tunnel.


    Nearly the entire Sepultura lineup is present on the guest list - both Andreas Kisser and Igor Cavalera are credited. Also Dino Cazares of Fear Factory and Ritchie Bujnowski from Wicked Death are featured on the album. The first track Wasting Away, appears in the 1995 film To Die For. Exploitation is a cover originally by the English crust punk band Doom.


    Relentless grinding riffs, and an industrial-strength percussive roar, the lyrics are uniformly nihilistic and the album is riddled with left-field samples that add a disorienting, dehumanizing texture. This is an ass-kicking album, that is full-on malevolent from the get-go. Point Blank is abrasive, in your face, and loud as hell with the lid off.

    1. Wasting Away
    2. Vai Toma No Cú
    3. 24 Hour Bullshit
    4. Guerrillas
    5. Blind And Lost
    6. Sum Of Your Achievements
    7. Cockroaches
    8. For Fuck's Sake
    9. World Of Shit
    10. Exploitation
    11. Religious Cancer
    12. Shit Piñata
    13. Sick Life
    Nailbomb
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Grinding Wheel The Grinding Wheel Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel

    Armed with pioneering pure metal proposals like "Death Rider," "The Beast Within," and "Raise The Dead" already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby "Blitz" Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.


    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.


    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. "It just makes sense for us," reflects D.D. "If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing "Grinder," the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work."


    "One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time," seconds Blitz. "Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics."


    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in "Come Heavy" and Iron Maiden in "The Long Road" and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.


    "Punk is huge for Overkill," confirms Verni. "And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world."


    Central to that premise is the incendiary "Let's All Go to Hades" which is sure to become a pit favourite. "This one was a hell of a lot of fun," says Blitz. "You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more."


    Adds D.D., "It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes."


    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is "Our Finest Hour." "It's about the recognition of sameness," explains Ellsworth. "I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune."


    At the other end of the spectrum from punk is a song like "The Long Road." D.D. readily agrees that there was a Maiden influence as part of this one's crafting. "Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.


    More evident in the band's panoramic classic metal passages, but even articulated here on "Our Finest Hour," is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.


    "I've had that kind of sound now for a long time," says Verni. "There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars."


    This affects the writing as well, says Blitz. "Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds."


    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.


    "That's the strength of the band," explains Blitz. "Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization."


    And Ron? "He's one-of-a-kind," says Verni. "He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it."


    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.


    "I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.


    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.


    "For sure," says Blitz. "One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear."

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Vinyl LP - Sealed Buy Now
  • The Grinding Wheel (Yellow And Black Vinyl) The Grinding Wheel (Yellow And Black Vinyl) Quick View

    $31.99
    Buy Now
    x

    The Grinding Wheel (Yellow And Black Vinyl)

    Pressed On Yellow And Black Vinyl

    Armed with pioneering pure metal proposals like Death Rider, The Beast Within, and Raise The Dead already in 1982, New Jersey's Overkill were a rock-solid part of the first clutch of bands forging in fire this music known as thrash metal. Along with Metallica, Exodus, Slayer and cross-town doppelgangers Anthrax, D.D. Verni and Bobby Blitz Ellsworth were helping to create a new form of metal that is still as vibrant today as when the band's first album, Feel the Fire was issued by Jonny Zazula's Megaforce Records back in the spring of '85.

    Witness Overkill's 18th album of blistering yet precise and thought-provoking thrash magic, The Grinding Wheel, a record on which thrash's ultimate team of five machined parts shows up and executes to perfection with a little punk thrown in for bad measure.

    But a life dedicated to metal can be a grind, hence the title of this sparks-a-flyin' record. It just makes sense for us, reflects D.D. If you've been making metal for almost 40 years like we have, it can be a grind. But we also liked the old school metal idea of referencing Grinder, the Judas Priest song, which suits the album because it has classic metal parts on it as well as the thrash parts. There's a blue collar feel to that title too, and that's how we approach Overkill. The guitar case is basically a lunchbox and we go to work.

    One of the principles-if not characteristics-of the band is that it's been grinding through for long, long periods of time, seconds Blitz. Decades to this point. And not necessarily with huge gains with regards to popularity, but for sure, with huge gains in as much as we can earn a living while doing the kind of music that we want. And so the idea of grinding it out over the decades became a device for writing the album, whether it would be riffs or lyrics.

    Despite, as D.D. says, the album's classic metal references (such as Black Sabbath in Come Heavy and Iron Maiden in The Long Road and the epic and cinematic title track), when the band gets up a full head of thrash steam, they bring to the party a trademark punk aesthetic, forged from trips on the train to CBGB and Max's Kansas City to witness original punk legends such as The Damned and The Dead Boys.

    Punk is huge for Overkill, confirms Verni. And it's something we very specifically brought back to the band in a sort of second wave, beginning with Ironbound in 2010 and then The Electric Age and White Devil Armory. I know from my end, it came from talking to the band and talking to fans. We had some of those metal records in the middle of our career where I wasn't paying enough attention to the punk rock vibe of the band. But just before we started writing Ironbound, I was very specific about getting back into that mentality, picking up on that energy again. You're not going to hear any Green Day or Ramones in us, but the energy and the attitude of punk mixed with the New York vibe that's what Overkill is, compared to other bands. You don't hear any of that in Megadeth; you don't hear any of that in Slayer. It's more specific to what we brought to the thrash world.

    Central to that premise is the incendiary Let's All Go to Hades which is sure to become a pit favourite. This one was a hell of a lot of fun, says Blitz. You know, I've always written abstractly. I'm not the guy who says, 'I'm going to crush your skull into dust.' I like writing more so from an abstract point of view, putting a slew of thoughts together that create one idea, like a puzzle more than a specific black or white. And when I looked at all these lyrics when I was done, I said, oh my God, I'm 57 and I finally matured (laughs). Oh, this is gross! (laughs). But I do like tongue-in-cheek songs like 'Hades,' where it says, sort of let's all go to the Bataclan, you know, stand arm in arm and sing 'Killed by Death.' I kind of tied in not long ago events, specifically what happened in Paris, with losing Lemmy. After that, I'm on a train from Paris to Istanbul on the Orient express, which actually existed (laughs)-it actually went from Paris to Istanbul. So that one is mapped out a bit more.

    Adds D.D., It's not a 'smash your face into the wall' kind of song. It got a little bit of fun in it. I know any time you talk to the really heavy thrash guys, they go, 'Oh, no, no, no-no fun allowed. It's got to be heavy and brutal every second.' But that song definitely has a bit of fun in it. And we've done that before, with things like 'Old School' and 'Fuck You.' We're not afraid to do a bit of that sometimes.

    Another favorite lyric of Blitz', which is set to a non-nonsense old school thrash track, is Our Finest Hour. It's about the recognition of sameness, explains Ellsworth. I think people are comfortable when they recognize themselves in someone else. And 'Our Finest Hour' is kind of a detailed journey through that concept. It's like, 'Come on over here; I recognize you.' I've always been a firm believer in the fact that it's great to accomplish things on your own, but people are always stronger as a group-that's the basic outline of that tune.

    At the other end of the spectrum from punk is a song like The Long Road. D.D. readily agrees that there was a Maiden influence as part of this one's crafting. Oh yeah, for sure. The opening, along with a little section in there with the vocals, definitely feels like New Wave of British Heavy Metal.

    More evident in the band's panoramic classic metal passages, but even articulated here on Our Finest Hour, is another storied Overkill trademark, the definition one gets in the band's bass parts. Combine this with the Mensa-like percussive wizardry of Ron Lipnicki (laid bare for all to hear at headphone levels through the smack of his gravity-defying double bass work), and The Grinding Wheel emerges as a record with a remarkable rhythm section foundation from which to rise.

    I've had that kind of sound now for a long time, says Verni. There are a lot of bass players that say, 'I want to feel the bass.' And it's like, I just couldn't give a shit about feeling the bass. To me that's low-end. Guitars have low-end, kick drums have low-end, bass has low-end-I want to hear the bass, not feel it. So from a long time ago, that's what I would be doing on my EQ. I would be tweaking and turning knobs until not only could I feel it, but I can hear it separate from the guitars. And as a result, the bass just got more and more aggressive. I'm not a finesse player at all, on a bass. I bang the shit out of it, and I kind of do that to get away from the guitars and give it its own identity, its own sound, its own thing, so the bass has its own personality, not just serving as a foundation for the guitars.

    This affects the writing as well, says Blitz. Don't forget, D.D. is a guitarist. He's been playing guitar probably more so than bass in his spare time since the late '80s. This is a guy who has two-and-a-half decades of six strings under his belt. So we get more of a unique perspective; it gives this band its unique qualities when it comes to songwriting. Because it's a guy holding six strings who's got plenty of experience playing those six strings, but thinking from the other perspective. So you get a punchier thing; you don't get a lot of fluff. When you compare Overkill to some of our contemporaries, there you get a guitar player writing guitar-based songs. D.D. is writing, first and foremost, from a rhythm perspective, and that's what drives the songs. Add Dave Linsk to the picture, once there's a ten-note riff written, then you have the best of both worlds.

    Which brings us back to the aforementioned machine-like efficiency of the five guys that comprise Overkill, this idea that there are no weak links within this particular classic five-piece with two guitars lineup of metal warriors.

    That's the strength of the band, explains Blitz. Dave is really the one that holds the guitar reigns in this band. He's a writer at his core. You know, he's one of these guys who brushes his teeth and hears a rhythm the way the bristles are hitting the enamel (laughs). He's that dude. 'Oh wait a second, I have another idea.' He has an idea a minute, and if that's the case, some of them are going to be great. So he holds the reins. When it comes to Derek, he's more the opinionated thought later on. And so when it runs through the machine, being D.D. and myself, then Dave, Derek comes in and can change that song. It's always kind of good to have, let's say, a chief and some Indians. And it depends who's wearing the chief hat at any particular time. But I think at the end of the day, when you're looking for a clean perspective, it goes through Derek-that's usually what his contribution is, more of a finalization.

    And Ron? He's one-of-a-kind, says Verni. He's a great drummer. I've worked with him for a bunch of records now. This is our fifth record together and so I really understand how he plays at this point. Working with him in the studio is just a pleasure, because he's so right on it.

    After heaping all manner of praise on legendary producer Andy Sneap (brought on only for mix given Verni's proven acumen at the task), D.D. further clarifies the reason Overkill can be at the top of their game 18 records into their distinguished run.

    I have a studio and I did most of it at my place; I've been doing it that way for a while now. And now the group of guys we have in the band has been pretty consistent for a while. So we have a nice mix; everybody kind of knows their role, and is good at their role. Everybody brings a little something to the party. And I think that's why these last couple of records people ask, 'How is it that your records get better after 25 years?' And I think part of it is that everybody has a role in the band, everybody is comfortable with their role, and they're really good at the part they have. So the records actually get better. It's like having a team, instead of having a whole bunch of chiefs and no Indians.

    But a proven people's band like Overkill-a more personable bunch you'll never meet-fully recognizes that part of the band's success in being able to survive and thrive with the grind is due to the allegiance of the band's considerable worldwide fan base.

    For sure, says Blitz. One of the things with regard to grind, with regard to four decades of Overkill, it's good to be here, but it's obviously earned, not just by us but by the people that support this in general. The fact is that it's not just us grinding it out. I mean, maybe it is when it comes to the studio and writing and recording songs, from that selfish perspective. But the reason something exists for decades is based on group effort. Like we had talked about earlier with 'Our Finest Hour,' people are stronger together. In that light, this band is, let's say, not just our project, but it's a project by and for all those who hold it dear.

    1. Mean, Green, Killing Machine
    2. Goddamn Trouble
    3. Our Finest Hour
    4. Shine On
    5. The Long Road
    6. Let's All Go To Hades
    7. Come Heavy
    8. Red, White And Blue
    9. The Wheel
    10. The Grinding Wheel
    11. Emerald
    Overkill
    $31.99
    Colored Vinyl LP - Sealed Buy Now
  • And On And On (Awaiting Repress) And On And On (Awaiting Repress) Quick View

    $16.99
    Buy Now
    x

    And On And On (Awaiting Repress)

    East Coast meets West Coast in a pairing of American grindcore titans Agoraphobic Nosebleed and Despise You. Despise You blast out their first new material in almost ten years; grinding through eighteen tracks of their classic hardcore in just under seventeen minutes, while grind chameleons Agoraphobic Nosebleed churn through seven sludgy tracks with the subtlety of a runaway tank.

    1. Despise You - Bereft
    2. Despise You - Repeat Until You Fail
    3. Despise You - Roll Call
    4. Despise You - 3/26/00
    5. Despise You - Three Day Hold
    6. Despise You - Yes Officer/No Officer
    7. Despise You - Fear's Song
    8. Despise You - Two Or Ten Faces
    9. Despise You - Shit Goes In, Shit Comes Out
    10. Despise You - You Can't Fix Me, Don't Trip
    11. Despise You - Painted Gray
    12. Despise You - All The Regimes You Hold Most Dear
    13. Despise You - Destinial
    14. Despise You - Bankrupt Social Code
    15. Despise You - Seven Funerals
    16. Despise You - They All Died Is What Happened
    17. Despise You - ...And Expirations
    18. Despise You - Cedar Ave. (Was The Best Place To Watch People Ascend To Heaven)
    19. Agoraphobic Nosebleed - Half Dead
    20. Agoraphobic Nosebleed - As Bad As It Is...
    21. Agoraphobic Nosebleed - Miscommunication
    22. Agoraphobic Nosebleed - Los Infernos
    23. Agoraphobic Nosebleed - Ungrateful
    24. Agoraphobic Nosebleed - Possession
    25. Agoraphobic Nosebleed - Burlap Sack
    Agoraphobic Nosebleed/Despise You
    $16.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Dragged Down A Dead End Path Dragged Down A Dead End Path Quick View

    $14.99
    Buy Now
    x

    Dragged Down A Dead End Path

    Rarely does a debut record come bursting out of the gates this ferociously angry and, frankly, awesome. Stirring up a pissed off mix of Napalm Death and His Hero Is Gone, Colorado's Call Of The Void pound out a furious ten-song grand slam of a record. Dragged Down A Dead End Path truly lives up to its name, because this is a record that beats listeners into submission. Blending hardcore, sludge, powerviolence, crust and grind, Call Of The Void are legit rising stars in hardcore and metal. Dragged Down A Dead End Path's crust and grind elements seamlessly merge to conjure visions of grind godfathers Pig Destroyer while effortlessly treading the abrasive caustic nature of Converge's hybrid progressive hardcore and Mastodon's technical metal-tinged rock mastery.
    1. Failure
    2. Theory of Mind
    3. Bottom Feeder
    4. Endless Ritual Abuse
    5. Abomination
    6. Breeding Grounds
    7. Napalm Lungs
    8. The Liar's Heart
    9. I Hope You Two Fuck
    10. Faith & Filth
    Call Of The Void
    $14.99
    Vinyl LP - Sealed Buy Now
  • Poisoned Altars Poisoned Altars Quick View

    $19.99
    Buy Now
    x

    Poisoned Altars

    POISONED ALTARS is the sophomore LP from heavy metal titans LORD DYING. Recorded in the spring of 2014 by Joel Grind of Toxic Holocaust, POISONED ALTARS is the work of a band who spent the past 18 months grinding it out on the road touring relentlessly with the likes of Red Fang, Black Tusk and more. Blending the riffs and growls of High On Fire with the hammering groove of Crowbar POISONED ALTARS cements LORD DYING as one of this decade's dominant metal forces.
    1. Poisoned Altars
    2. The Clearing At The End Of The Path
    3. A Wound Outside Of Time
    4. An Open Sore
    5. Offering Pain (And An Open Minded Center)
    6. Suckling At The Teat Of A She-Beast
    7. (All Hopes Of A New Day) ...Extinguished
    8. Darkness Remains
    Lord Dying
    $19.99
    Vinyl LP - Sealed Buy Now
  • Keg Nuts Keg Nuts Quick View

    $4.99
    Buy Now
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    Keg Nuts

    This is totally brutal and raw grindcore / thrashcore! Blast beats ringing in over metal tinged guitar breaks and furious growling lines that will have you bleeding out any of you're usual punk and grind references! This is along the lines of bands like GRUESOME STUFF RELISH, MACHETAZO, with gruesome moans and growls in the back-drop of a pulverizing set of blasting grindcore! FEAR THE KEG!
    1. Hangin' Brain
    2. Chunder Chops
    3. Blood Brew
    4. King Brown
    5. Pisshead
    6. Rot Gut
    7. Scruff
    8. Maggot
    9. Malt Shovel
    10. Any Old How
    Beer Corpse
    $4.99
    Vinyl LP - Sealed Buy Now
  • Requiem Requiem Quick View

    $10.99
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    Requiem

    Taking Hardcore, Grind, Crust, and Metal and playing them all like they're the same thing Seattle's Skarp have crafted a a sonic suicide note that demands to be heard. Adeptly interlaced with samples that set the stage for the ensuing mayhem, Requiem is loosely conceptual, with all fourteen tracks (and an intro) touching on the topic of suicide.
    Throughout the record, the band keeps the proceedings fresh and intense, as bulldozing heavy moments crush the listener under the sheer massive weight of the riffs, while haunting, multi-textural riffs complement the raw power with just enough color in the dark musical landscape. Post-nordic Black Metal-isms segue into raw speed-crust seamlessly, creating a musical balance of terror that is as intense as it is effective.


    Formed in 2000 as a band heavily influenced by Choking Victim, Skarp quickly steered their ships into heavier, more turbulent waters, trading the ska elements for blast beats. Their EPs established the band's presence in the underground and heavy touring throughout the western US, as well as all over Canada followed. In 2004 the band gigged exhaustively throughout Europe for the first time as well. Skarp at last came to the attention of AT's overlord, the irrepressible Jello Biafra after they opened his shows with the Melvins on New Year's 2004/2005 in Seattle. After thoroughly devastating the audience, Biafra knew that AT would be the only logical home for such a passionate and independent act.


    The band was signed and began to craft Requiem under the watchful eye of veteran producer Billy Anderson forging a fearsome aural assault. Skarp's savage brand of grinding mayhem, known as Blackout Grind amongst the band's true believers, will strike a chord with all fans of crust, grind, hardcore and the more virulent strains of metal.

    1. Intro
    2. Requiem
    3. Turn Away
    4. Industrialized
    5. Soulless
    6. Cold Blue Serenity
    7. The Plague
    8. Feed the Addiction
    9. Carrion
    10. Reclaim
    11. One in Five
    12. Hooks
    13. Not a Human
    14. Fuck Your Bad Day
    15. Absence
    Skarp
    $10.99
    Vinyl LP - Sealed Buy Now
  • Haemorrhage / Gruesome Stuff Relish Haemorrhage / Gruesome Stuff Relish Quick View

    $34.99
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    Haemorrhage / Gruesome Stuff Relish

    The sickening gore seems to be endless and this time with a full dose of pathological perversity and putrid horror stench!


    Featuring the unstoppable Pathological Gore Grind masters Haemorrhage with 3 new tracks and a classic cover version of Necrophillia from G.B.H. and the cult horror fanatics Gruesome Stuff Relish this blood-splattered Spanish carnage contains new unreleased tracks from both bands which will make their legacy even more twisted and sick like hell!

    1. Haemorrhage - Hospital Theives
    2. Haemorrhage - Gangerous Prosthetic Implants
    3. Haemorrhage - Self Medication
    4. Haemorrhage - Necrophilia
    5. Gruesome Stuff Relish - They Follow Your Scent
    6. Gruesome Stuff Relish - Hell Is Too Full
    7. Gruesome Stuff Relish - Become Zombie
    Haemorrhage
    $34.99
    10 Vinyl LP - Sealed Buy Now
  • Fat.Mo.Mac Fat.Mo.Mac Quick View

    $19.99
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    Fat.Mo.Mac

    FAT.MO.MAC is hitting the scene with a bluesy grind straight out of one of the most influential eras in music history. With influences like Jimi Hendrix, Ritchie Blackmore, and Jeff Beck pressed firmly between the pick and slide of the strings, FAT.MO.MAC's debut album is anything but freshman work. Lead guitarist Lars Johansson (from Candlemass) called on magic from fellow musicians Mats Leve´n, Klas Gunnerfeldt, Tobbe Moen and Stefan Gunnarsson to help him bring his dream to fruition.
    1. Walk Alone

    2. So Bad It Feels

    3. Broken Down

    4. Kickback

    5. Always Like That

    6. Cold Woman

    7. Memories Is All There Is
    8. Gearshifter

    9. Get Home
    Fat.Mo.Mac
    $19.99
    Vinyl LP - Sealed Buy Now
  • No Epitaphs No Epitaphs Quick View

    $19.99
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    No Epitaphs

    Heavy metal punk n' rollers RAMMING SPEED will release their sophomore Prosthetic effort, "No Epitaphs. Recorded late last year with Kurt Ballou (Converge, Skeletonwitch, Kvelertak) at GodCity Studios, the album borrows from the bulldozer riffs of Swedish D-beat, the guitar harmonies of British heavy metal, the raw aggression of American grind and the visceral energy of basement hardcore. The band have teamed with Germany's SLAM Magazine to debut the new track "Choke Holds and Bullet Holes,"
    1. No Forgiveness in Death
    2. Choke Holds and Bullet Holes
    3. Beasts of Labor
    4. Don't Let This Stay Here
    5. This Is The Life We Chose
    6. Walls
    7. Break In The Chain
    8. Truth To Power
    9. Super Duty
    10. Horns of War
    11. Momentary Masters
    Ramming Speed
    $19.99
    Vinyl LP - Sealed Buy Now
  • A NEW WAVE of VIOLENCE A NEW WAVE of VIOLENCE Quick View

    $17.99
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    A NEW WAVE of VIOLENCE

    Head Wound City is made up of members of Yeah Yeah Yeahs, The Blood Brothers, and The Locust. All come from diverse backgrounds, steeped in metal (thrash and grind in particular), goth, and every permutation of hardcore and punk imaginable. Their entirely aptly titled debut album, A New Wave of Violence (taken from the Raymond Pettibon zine), sounds like what one might imagine the sum total of five people known for innovation in discordant audio assault would sound like.
    1. Old Age Takes Too Long
    2. Born To Burn
    3. Head Wound City, USA
    4. I Wanna Be Your Original Sin
    5. I Cast a Shadow For You
    6. Scraper
    7. Closed Casket
    8. Palace of Love and Hate
    9. Avalanche in Heaven
    10. Love is Best
    Head Wound City
    $17.99
    Vinyl LP - Sealed Buy Now
  • Never Breathe What You Can't See Never Breathe What You Can't See Quick View

    $21.99
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    Never Breathe What You Can't See

    At last the long-rumored tag-team assault on God, Justice and the American Way of Life is set to grind your minds and pummel your craniums. The project hatched when the Melvins approached Jello, expressing their outrage at the phony Dead Kennedys cash-in reunion tour and proposed their own tour backing Jello playing all Dead Kennedys songs. Jello replied that he would rather write new songs and a band was born. The music is heavy and catchy, the sharp tongue and deadly riffs are everywhere, so if you think these guys have finally mellowed with age or matured as artists, think again.
    1. Plethysmograph

    2. McGruff the Crime Dog

    3. Yuppie Cadillac

    4. Islamic Bomb

    5. Lighter Side of Global Terrorism

    6. Caped Crusader
    7. Enchanted Thoughtfist

    8. Dawn of the Locusts
    Jello Biafra
    $21.99
    Vinyl LP - Sealed Buy Now
  • Monolith Of Inhumanity (Awaiting Repress) Monolith Of Inhumanity (Awaiting Repress) Quick View

    $22.99
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    Monolith Of Inhumanity (Awaiting Repress)


    Golden Landfill Colored Vinyl With Confetti Colored Splatter


    Housed In A Lavish Gatefold Cover


    Limited To 1000 Copies


    Monolith of Inhumanity, the follow-up to 2009's monumental The Harvest Floor, shows Cattle Decapitation continuing right where they left off. The musical evolution of the band continues with just enough changes to keep the listener on their toes throughout the blast, gore and eerily melodic proceedings. Monolith… will continue to cement Cattle's legacy as one of the most influential and important bands in extreme music. As MetalSucks.net puts it: Cattle Decapitation have the sort of skills that put them squarely at the head of grind's noisy pack.

    1. The Carbon Stampede
    2. Dead Set On Suicide
    3. A Living, Breathing Piece of Defecating Meat
    4. Forced Gender Reassignment
    5. Gristle Licker
    6. Projectile Ovulation
    7. Lifestalker
    8. Do Not Resuscitate
    9. Your Disposal
    10. The Monolith
    11. Kingdom of Tyrants
    Cattle Decapitation
    $22.99
    Colored Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Remain Dystopian Remain Dystopian Quick View

    $19.99
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    Remain Dystopian

    Miami deathgrind maniacs Maruta return to the fold with their Relapse debut Remain Dystopian, their most punishing and focused album to date. Recorded in various studios including drums with Pig Destroyer's Scott Hull and vocals with Torche's Jonathan Nuñez, Remain Dystopian is a vicious, 17 song blast of relentless and infectious death metal infused grindcore. Featuring guest vocals from the legendary Tomas Lindberg (At the Gates, Disfear) and Pig Destroyer's J.R. Hayes plus layers of noise from Agoraphobic Nosebleed's Jay Randall, Remain Dystopian raises the bar for what 21st century grind can accomplish!
    1. Genocide Interval
    2. Hope Smasher
    3. The Void Within
    4. Minimal Progress
    5. Protocol For Self Immolation
    6. Absolutist
    7. Stride Endlessly Through Scorched Earth
    8. Submergence aka Barren Oceans Of Infinity
    9. Erode
    10. Stand In Defeat
    11. Remnants Of Failed Utopia
    12. I, Usurper
    13. Durandal
    14. Psalm For The Withered
    15. Return To Zero
    16. Slaying Jehova
    17. Immune
    Maruta
    $19.99
    Vinyl LP - Sealed Buy Now
  • Nightmare Logic (Awaiting Repress) Nightmare Logic (Awaiting Repress) Quick View

    $13.99
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    Nightmare Logic (Awaiting Repress)

    The second crushing, soul-mangling, neck bustin' album from Texas hardcore thrashers: Power Trip. Quite possibly the best thrash album you will have heard in the last decade. IMMENSE, MAMMOTH, MASSIVE. Recorded by Arthur Rizik (Inquisition), mastered by Joel Grind (Poison Idea, Toxic Holocaust) and features cover art by Paolo Girard. POWER TRIP is a real band like no other. Their raw energy, musical proficiency, perfect song structure, rich tones, fierce riffs, persecution, and collective attitude have seeded them as one of the most prolific underground staples in the US metal, punk, and hardcore scenes.
    1. Soul Sacrifice
    2. Executioner's Tax (Swing of the Axe)
    3. Firing Squad
    4. Nightmare Logic
    5. Waiting Around to Die
    6. Ruination
    7. If Not Us Then Who
    8. Crucifixation
    Power Trip
    $13.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Suffer To Abuse Suffer To Abuse Quick View

    $18.99
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    Suffer To Abuse

    Finnish grindcrushers ROTTEN SOUND detonate 'Suffer To Abuse', an all-new mini-LP of grinding metal ferocity. Featuring seven new powerloads delivered with maximum hostility!
    1. Privileged
    2. The Misfit
    3. Stressed Mess
    4. Harvester Of Boredom
    5. One Hit Wonder
    6. Nutrition
    7. Slaves Of Lust
    Rotten Sound
    $18.99
    Vinyl LP - Sealed Buy Now
  • Musicforthemorningafter (Awaiting Repress) Musicforthemorningafter (Awaiting Repress) Quick View

    $34.99
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    Musicforthemorningafter (Awaiting Repress)

    10th Anniversary Reissue!


    Pete Yorn's 2001 release Musicforthemorningafter was arguably one of the last of its kind: an unknown singer/songwriters debut, given a classic major-label push. And it still sounds like one of the best things that happened to rock that year. Made at the weird unruly intersection of '90s alternative rock and a new stubbornly-indie underground, Yorns first record was a decisive turn away from the large hollow rage of grunge and rap-metal, into a richer tumult of folk-rock reflection, garage-band grind and pop-smart composition, with a striking confessional tension rooted in Yorns teenage passion for the British rhythm and melancholy of the Smiths, the Cure and New Order. LP reissue features original 2LPs in gatefold jacket, remastered by original engineer Bob Ludwig, on 180g vinyl.

    LP 1

    1. Life On A Chain
    2. Strange Condition
    3. Just Another
    4. Black
    5. Lose You
    6. For Nancy
    7. Murray
    8. June


    LP 2
    1. Sense
    2. Closet
    3. On Your Side
    4. Sleep Better
    5. EZ
    6. Simonize
    7. Knew Enough To Know Nothing At All
    8. A Girl Like You

    Pete Yorn
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Longhena Longhena Quick View

    $22.99
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    Longhena

    I remember when we were in love/but time has taken that from us.


    The end game, the final unit. The last Gridlink record. Recorded over five days in Kyoto, Japan, 'Longhena,' is a twenty-three minute grindcore opus made real through the emotional ferocity and painstaking calculation of Jon Chang (Discordance Axis), Bryan Fajardo (Phobia, PLF), Takafumi Matsubara (Discordance Axis, Hayaino Daisuki) and Teddy Patterson (Burnt by the Sun, Human Remains, Hayaino Daisuki).


    Awe-inspiring musicianship, landscapes of shred, atonal and melodic at once, blast-beat hyper-mania and vocals screamed from the bottom of a personal and illustrated hell. This is the one you've been waiting for. The one that makes the body ache.


    'Longhena,' is for anyone sick with melancholy, and those who wish to obliterate the world with music.


    I have the pictures of who we once were, that life is over. Grind 2.0.


    Featuring guest vocals from Paul Pavlovich of AssÜck.

    1. Constant Autumn
    2. The Last Raven
    3. Thirst Watcher
    4. Stay Without Me
    5. Taibas
    6. Retract Perdition
    7. The Dodonpachi
    8. Black Prairie
    9. Island Sun
    10. Chalk Maple
    11. Wartime Exception Law 205
    12. Ketsui
    13. Longhena
    14. Look to Windward
    Gridlink
    $22.99
    Vinyl LP - Sealed Buy Now
  • Big Smoke London Town Big Smoke London Town Quick View

    $22.99
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    Big Smoke London Town

    The Dustaphonics occupy the space where the talented few, committed and bright, stick to their guns'. Some groups are capable of doing things more intensely than others. The Dustaphonics is a group that knows how to grab your attention and get people dancing. The music is a fantastic mash-up that details their musical influences, from booze-soaked 1950s rhythm and blues, vintage stomping 'buttshaker' soul, '60s garage rock and british beat / r&b, Vegas lounge, sleazy grind instrumentals and surf guitar. And the whole deal is sealed and delivered with the spirit of '70s punk. Although the influences are vintage, there is something remarkably and distinctively fresh and progressive about their songs that takes the music beyond simple imitation and infuses it with tremendous energy and passion.
    1. The Message
    2. When You Gonna Learn
    3. Big Smoke London Town
    4. Grand Prix
    5. Ride on Louisiana Red
    6. Rockin Boogaloo
    7. Don't Let the Devil Drive
    8. Your Car
    9. Back to Mono
    10. Fire Dance
    11. Mojo Yar Bones
    12. Flesh & Blood
    The Dustaphonics
    $22.99
    Vinyl LP - Sealed Buy Now
  • Confuse And Conquer (Awaiting Repress) Confuse And Conquer (Awaiting Repress) Quick View

    $13.99
    Buy Now
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    Confuse And Conquer (Awaiting Repress)

    Formed in 1980, POISON IDEA became a household name in the hardcore/punk scenes early in their career, and are known as one of the most notoriously in-your-face acts in the American musical underworld, with an enraged, high-energy live set even more rambunctious than the massive roster of singles, EPs, full-length studio and live releases and more, across a realm of labels including Pusmort, Tim/Kerr, Epitaph, Farewell, TKO, Southern Lord, and their own Fatal Erection. They've been an incredibly influential act to major performers including Nirvana, Pantera, Napalm Death, Machine Head, Eyehategod, Emperor, Turbonegro and an endless list of others.


    It is with massive enthusiasm that Southern Lord Recordings announces the brand NEW Poison Idea studio LP: Confuse & Conquer featuring eleven raging new anthems. Recorded by Joel Grind (Toxic Holocaust) and mastered by Brad Boatright (From Ashes Rise), the record booms with thirty-five minutes of fully ignited hardcore punk in the monolithic style the band has provided for three-and-a-half decades now.

    1. Bog
    2. Me & JD
    3. Psychic Wedlock
    4. Hypnoptic (Alternate Version)
    5. Trip Wire
    6. I Never Heard Of You
    7. Cold Black Afternoon
    8. Rhythms Of Insanity
    9. Dead Cowboy
    10. Beautiful Disaster
    11. Reprise
    Poison Idea
    $13.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
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