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  • Purple Purple Quick View

    $19.99
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    Purple

    Purple is the upcoming fourth studio album by stoner metal band Baroness, to be released through the band's newly founded label Abraxan Hymns. It is the first album to be released by the band following their involvement in the 2012 bus accident that left nine people injured; it is also the first album to feature new band members Nick Jost and Sebastian Thompson, playing bass/keyboards and drums respectively. The first single from the album, Chlorine & Wine, was released on 28 August 2015.
    1. Morningstar
    2. Shock Me
    3. Try To Disappear
    4. Kerosene
    5. Fugue
    6. Chlorine & Wine
    7. The Iron Bell
    8. Desperation Burns
    9. If I have to Wake Up (Would You Stop the Rain?)
    10. Crossroads of Infinity
    Baroness
    $19.99
    Vinyl LP - Sealed Buy Now
  • Moon Queen Moon Queen Quick View

    $19.99
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    Moon Queen

    Ask anyone who lived through it and they'll tell you that the '70s will never be bettered for rock. Connecticut's Lord Fowl know this as well as anyone but rather than simply cruise by on retro clichÉs, they add touches of stoner, grunge and heavy psych to give their arena-worthy anthems a bit more kick. With a strong emphasis on soulful crooning, groove over heaviness and big choruses (and maybe a little cheese) they hit up stomping southern rock in the vein of Skynyrd (Quicksand), rip-roaring metal (Streets Of Evermore) and power-pop (The Queen Is Not Impressed) with flair, attitude and confidently understated guitarwork. The balance between poppier cuts and darker, more substantial numbers is a tricky one but the lunar luminaries pull it off comfortably. If you dig Mountain, Camaros and Pabst, these are your new brothers in arms.

    - David Bowes

    Rock-A-Rolla - January 13th, 2013
    1. Moon Queen
    2. Touch Your Groove
    3. Split
    4. Mutate
    5. Streets of Evermore
    6. Dirty Driving
    7. Woman King
    8. The Queen is Not Impressed
    9. Quicksand
    10. SOS
    11. Hollow Horn
    12. Pluto
    Lord Fowl
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Serpent Only Lies The Serpent Only Lies Quick View

    $29.99
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    The Serpent Only Lies

    Pressed On Metallic Gold/Emerald Starburst Colored Vinyl


    Crowbar is an American sludge metal band from New Orleans, Louisiana, characterized by their extremely slow, low-keyed, heavy and brooding songs that also contain fast hardcore punk passages. Crowbar is considered to be one of the most influential metal bands to come out of the New Orleans metal scene. Their slow, heavy, and brooding style of metal is known to be influential in the sludge metal, doom metal, and stoner metal genres. This is their 11th studio album.

    1. Falling While Rising
    2. Plasmic And Pure
    3. I Am The Storm
    4. Surviving The Abyss
    5. The Serpent Only Lies
    6. The Enemy Beside You
    7. Embrace The Light
    8. On Holy Ground
    9. Song Of The Dunes
    10. As I Heal
    Crowbar
    $29.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Oak & Bone 7 Oak & Bone 7 Quick View

    $4.99
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    Oak & Bone 7

    Oak and Bone are a new band from Syracuse, NY delivering heavy riff-oriented hardcore with a good dose of crusty filth, some stoner metal, and just a bit of psychedelia. Shaggy-haired, fist-pumping, headbanging, anthem loving ragers will thoroughly enjoy! For fans of Cursed, Breather Resist, Unsane, and 16. This four song 7 includes a download card with an extra song not on the actual physical record.
    1. On Your Own Or Not At All
    2. Build Walls
    3. Atavistic
    4. Momentum
    Oak & Bone
    $4.99
    7 Vinyl LP - Sealed Buy Now
  • Ripe Ripe Quick View

    $18.99
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    Ripe

    Colored Vinyl


    SLUG is the brand new musical venture from the mind of Ian Black, a merrily disruptive influence on the North East music for more than a decade. His debut album RIPE will be released on Memphis Industries on 13 April 2015. With SLUG, Black wanted to get away from the tinnitus inducing noise rock of his formative bands, letting the idea dictate the song's form and sonic palette. Black says of the album "'What ifs' play a massive part in RIPE. What if we use a stoner metal riff and use it like a dub bass part or what if we combined the drumming style of John Bonham with James Brown beat and the squelch bass of Claudio Simonetti and Fabio Pignatelli".

    1. Grimacing Mask
    2. Cockeyed Rabbit Wrapped in Plastic
    3. Sha La La
    4. Eggs and Eyes
    5. Greasy Mind
    6. Shake Your Loose Teeth
    7. Weight of Violence
    8. Running to Get Past Your Heart
    9. Peng Peng
    10. Kill Your Darlings
    11. At Least Show That You Care
    Slug
    $18.99
    Colored Vinyl LP - Sealed Buy Now
  • Further Out Further Out Quick View

    $17.99
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    Further Out


    Colored Vinyl


    Produced/Engineered/Mixed/Mastered Completely Analog By Matt Talbot (Hum)


    Further Out, the anticipated debut full length from the reclusive Indiana trio
    Cloakroom, can be defined best as an exploratory sonic mission. From the album's
    opener, "Paperweight," the crushing force of a wall of distorted bass and pounding
    drumming collapses to uncover the airy, reverb-soaked vocals of guitarist Doyle Martin,
    who's carrying a sullen burden that seems just as weighed down. From the headbanging
    heaviness of "Moon Funeral" to the ethereal moments of songs like "Starchild Skull"
    and Mesmer," Cloakroom's output is the end result of researching seemingly dissimilar
    elements like atmospheric post-rock, punishingly slow stoner metal, and cathartic emo
    and how their best qualities can work into a final, organic sound, masterfully navigated
    by the expert and completely analog production of Matt Talbot. Further Out boasts the
    timelessness of a classic record: it is expansive and exploratory while still reflective and
    referential to the astral tendencies of predecessors like Hum and Jesu.

    LP 1
    1. Paperweight
    2. Outta Spite
    3. Moon Funeral
    4. Lossed Over
    5. Mesmer
    6. Starchild Skull
    7. Asymmetrical


    LP 2
    1. Clean Moon
    2. Sylph
    3. Deep Sea Station

    Cloakroom
    $17.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • The Church Within The Church Within Quick View

    $37.99
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    The Church Within


    Features Two Bonus Tracks


    Includes Added Photos and Original Album Art With Lyrics


    Includes a New Note From Wino Himself


    Biker metal, doom metal, stoner metal whatever metal subgenre you
    want to fit him into, Scott "Wino" Weinrich has been at the forefront of it
    for over thirty years. The unmistakable rasp of his lead vocals and thick, fuzzy Gibson
    guitar tone have spearheaded bands ranging from Saint Vitus to Spirit Caravan to Probot,
    but for many his crowning achievement (and most accessible one) was The Church
    Within, the last album he made with his first band, The Obsessed, for Columbia in 1994.


    His lone major label release, The Church Within features the dark vision and crushing,
    slow-motion riffs beloved by fans of Black Sabbath, but the driving intensity and atonal guitar solos recall
    Motörhead and Black Flag, respectively; in short, this album transcends genre classifications even as it defines
    them. Now, for the first time, this lost classic of '90s metal is being reissued by Real Gone Music on double
    180-gram gatefold vinyl with two bonus tracks (the single "Mental Kingdom" and the unreleased track "Melancholy
    Grey"), added photos, the original album art with lyrics and a new note from Wino himself. Everyone from Henry
    Rollins to Dave Grohl to Ian MacKaye has sung Wino's praises time to join the chorus.

    LP 1
    1. To Protect And To Serve
    2. Field Of Hours
    3. Streamlined
    4. Blind Lightning
    5. Neatz Brigade
    6. A World Apart
    7. Skybone


    LP 2
    1. Streetside
    2. Climate Of Despair
    3. Mourning
    5. Touch Of Everything
    6. Decimation
    7. Living Rain
    8. Mental Kingdom (1994 Version) (Bonus Track)
    9. Melancholy Grey (1994 Version-Unreleased) (Bonus Track)

    The Obsessed
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Darkening Plain The Darkening Plain Quick View

    $24.99
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    The Darkening Plain

    Transmaniacon take the blueprint and soundworld laid down by Bloodrock, Mountain, Steppen-wolf, Blue Oyster Cult and Alice Cooper, and add a hefty slab of dark doom, hard riffs, punk atti-tude and stoner metal to ramp it up for the 21st century. The vibe is steeped in 70's rock, but the sound is definitely 'NOW' From the Sabbathian sludge of 'City Of Chaos' to the Dead Kennedy-esque 'An Eye For An Eye' and the stoner moves of 'Chasing The Insane' the album is shot through with twists and chock full of riffs. This is hard rock at its hardest and heaviest set against an expansive post apocalyptic backdrop. Nothing encapsulates the cinematic darkness more than the album opener, which grafts a progressive approach to hard rock and doom. 'Quintessence of Dust' is a 24 minute monolithic mindfuck of epic proportions, the now completed score to the still-born science fiction horror story possibly. An intense listen that features the spoken word talents of punk poet Lydia Lunch. 'Quintessence Of Dust' is a grim eco warning, a tale of alien invasion and payback time for a future Earth's corpulent consumer-ism, rampant waste and self centred greed. A hideous flesh and metal robot army, hybrid humans inadvertently created by man himself, invade, take over and consume the Earth Sleeve is by one of the real legends of horror, sci-fi and fantasy illustration, Ian Miller.
    1. Quintessence of Dust
    2. City Of Chaos
    3. Eye for An Eye
    4. Chasing The Insane
    Transmaniacon
    $24.99
    Vinyl LP - Sealed Buy Now
  • The Unquiet Sky The Unquiet Sky Quick View

    $24.99
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    The Unquiet Sky

    Since the early 80's when bands like Cathedral and Saint Vitus pioneered the doom genre of metal, the style has continuously evolved and spread, despite being far less recognized and appreciated than most other forms of more traditional heavy metal. Bands like Eyehategod and Crowbar melded elements of doom into sludge and stoner metal, gaining modest success in the more mainstream metal community, but doom is beginning to enjoy a new wave of popularity, thanks largely to the more progressive experimental work of artists like Stephen O'Malley (Sunn0))), Burning Witch). Indian is a Chicago-based trio whose brand of doom is more akin to that of Eyehategod than the earliest or latest incarnations of the genre, and their distinctively black metal vocals immediately set them apart from the pack.


    First things first: The Unquiet Sky is everything a doom record should be. The bass tone is so perfect and intense that it could shake your body through a pair of headphones. The guitars bring Black Sabbath-esque fuzz down enough notches to kill a horse. The percussion is sparse when it needs to be (Ration) and energetic when it's allowed (Tied and Gagged). Dylan O'Toole's vocals give Indian the extra edge over many of the other bands who have perfected this formula by complementing the melancholy created by the music with a demonic voice of evil. There is even an extended track of terrifyingly psychedelic feedback, perfectly placed to scare the crap out of you when you're high. In fact, the only thing that fails to be suitably doom-y and evil about this record is the cover illustration of a Christ-like baboon which, despite being evil enough in spirit, looks a bit too much like it was drawn in a junior high art class.


    This record is an easy recommend for fans of the doom genre, but what about anyone unacquainted with the genre I personally don't consider myself a huge aficionado of the style, but loved this record. The only things required to enjoy The Unquiet Sky are an attention span and a love of all things metal. This record generally moves slowly, as does most doom, but it is far less droning and repetitive than many recent examples of the genre. As the name of the style suggests, doom is, by its very nature, dark, oppressive music. As such, Indian is definitely better suited to being digested over an extended period of time at high volumes, rather than short bursts in your car or through headphones.


    Bottom Line: If you're searching for the latest, greatest doom record to add to your collection, look no further than Indian's The Unquiet Sky. Fans of Neurosis, Eyehategod and Godflesh should also definitely pick this up. It's a solid record from beginning to end from an up-and-coming trio of doom virtuosos.


    - Cory (Lambgoat)

    1. No Able Fires
    2. Ration
    3. Dead Weight
    4. Los Nietos
    5. Queen
    6. Tied and Gagged
    7. God of Panic, Lord of Decay
    8. Loophole Noose
    9. Shill
    10. We Can Build You
    11. Worshiper of Sores
    Indian
    $24.99
    Vinyl LP - Sealed Buy Now
  • Dawning Dawning Quick View

    $21.99
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    Dawning

    Might the time finally be right for Mouth of the Architect? For a decade, the Ohio band has largely been ghettoized to cult status, familiar to Midwestern kids or those paying more than casual attention to what's clumsily called "post-metal," at least post-Isis. Between 2004 and 2008, Mouth of the Architect released three rather convincing-- if sometimes haphazardly indulgent-- records of unified doom and grace. Dependent upon extreme dynamics and grand composition, with track lengths that ticked into the teens and albums that stretched past the hour mark, Mouth of the Architect seemed like a natural recipient of the same "brainy metal" laurels then distributed by outlets as illustrious as The New York Times.


    But the ascendance never came, and since 2008's teetering Quietly, the band instead lingered at the threshold of self-destruction. They released an EP in 2010, but, as a revealing Invisible Oranges look into the band's last half-decade suggests, they mostly tried not to die-- as a group, really, or as people. "Some of us were convinced that the end was coming, either the big picture or individually," drummer Dave Mann told Brad Sanders. "Some of us, me in particular, were in a downward spiral in a lot of ways."


    The appropriately titled new album Dawning is their first in five years and their first featuring bassist Evan Danielson. It's also their best work to date, a fully realized resurrection. Dawning showcases a band that now moves with an intricacy and immediacy that indicate just what Mouth of the Architect is: a veteran group comprising members with long rÉsumÉs, who've now gotten a chance to begin again and know what to do with it. A wonder of tension and release, Dawning is designed to throw listeners into tailspins and, then, to lift them above the mess. That drama not only reflects the survival of the band that stuck around long enough to make this album but also of a group that's now pushed past the cloister of post-metal: Despite the hardened visage of tough-guy screams, burly guitar tones, and Mann's aggressive drumming, Dawning is a compulsively likable record, full of anthems meant for memorizing and environments meant for immersion. (Hell, "Sharpen Your Axes" could pass for millennial Incubus.) If you've ever liked Isis there's plenty for you here; on the other hand, if you like, say, Abbey Road-- or any music that tries to outstrip the structure of a single song while not abandoning its magnetism-- Dawning deserves your time, too.
    Should the metal prefixes "progressive" or even "post-" suggest long-winded, self-invested excursions nestled within songs that require an almanac, scrap the notion for Dawning. Yes, these songs stretch between seven and 11 minutes each, but even the longest, centerpiece "How This Will End, hinges upon narrative thrust and musical selflessness. If there are any guitar solos here at all, they come toward the start and the finish of "How This Will End, when a neon electric tone arches over a mounting cavalcade of drums and bass. Rather than serve as breaks in the momentum, though, both passages lead tremendous swells that rise to meet the troika of vocalists in another instance of triumph. Not one moment among these 11 minutes seems squandered or lost, as the quintet keeps rising and falling, churning and rebuilding.


    Opener "Lullabye" establishes that principle from the jump, or as soon as traipsing acoustic guitar and twinkling piano concede to a heroic riff wrapped within three-part, gang-style harmonies. Mouth of the Architect move constantly between parts; at various points, they leap from near-silence to a quake viscous enough to make plenty of stoner metal sound thin, from guitar leads that suggest Chicago blues moan to math-rock redirection. Behind the kit, Mann serves as the expert rudder, keeping the songs steady even as he navigates the transfers. This constant swivel also depends upon the split vocal duties of Steve Brooks, Kevin Schindel, and Jason Watkins. They trade verses, flip-flopping between pristine radio rock leads and malevolent growls, sometimes only for a line at the time. They often share choruses, delivering them the sort of group-vocal abandon that hints at a darkened Danielson Family. Their singing-- here, more charged and urgent than it's ever been-- gives all of the band's moving pieces a through-line from one side to the other.


    Talk of the tide of intelligent or somehow otherwise-elevated heavy music hasn't faded during Mouth of the Architect's temporary absence. Though both Sunn O))) and the late Isis have only released one album since MotA's last one, the acceptance of and debate over nominally black metal acts such as Liturgy, Wolves in the Throne Room, Krallice and Deafheaven has kept that conversation current. Mouth of the Architect only nods to that au courant talking point during Dawning, most notably with the blizzard of tremolo guitars that open "It Swarms" and the clattering way the band emerges from an instrumental break during "Sharpen Your Axes". But at the very least, Dawning deserves mention alongside Deafheaven's Sunbather, a record that's most notable for its holistic approach to drama and romance and the complete cinema of itself. Mouth of the Architect has long written from a vantage of imminent apocalypse, a perspective Dawning does not forego. There's talk of collapsing systems and prevailing darkness, spent luck and idolized disrepair. But at record's end, when Mouth of the Architect's three singers trade and share lines about risking it all even if they come up short, it's hard not to hear a core of redemption and potential hope within the music itself. And after returning from the brink to make one of the year's most rapturous records, metal or post-metal or whatever, there had better be.

    - Grayson Currin (Pitchfork)

    1. Lullabye
    2. It Swarms
    3. Sharpen Your Eyes
    4. How Will This End
    5. Patterns
    6. The Other Son
    Mouth Of The Architect
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $29.99
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    The Last Spire

    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Dopesmoker Dopesmoker Quick View

    $28.99
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    Dopesmoker

    It is with an immense amount of pride that Southern Lord brings you a mighty offering from the gods known as Sleep! In 2011, Southern Lord was contacted by Sleeps' Al Cisneros about the possibility of releasing a deluxe version of the classic Sleep recording: Dopesmoker. Cisneros wanted to breathe some new life into the old beast and finally have the original vision of the album fully realized. Southern Lord was overwhelmingly ecstatic about the challenge of taking the reigns of one of the most important recordings in the history of Heavy Metal!


    The Lord version features brand new artwork by long time Sleep artist, Arik Roper, who created something specifically special for the albums' rebirth. The biggest difference between this new version and the old releases is the phenomenal remastering job by From Ashes Rise guitarist, Brad Boatright (OFF!, Noothgrush, Deviated Instinct). His vision was to enhance the original recording without changing it drastically.


    What he has done makes this epic opus sound invigorated, more powerful with renewed clarity and all-around unbelievably mammoth. His work was enthusiastically approved by the band and considering how focused, vigilant and protective of their masterpiece the band is, that is nothing short of a miracle! Also exclusive to the reborn version of Dopesmoker, is a unreleased live track of one of the best songs the band ever did, "Holy Mountain." Purple 180g double vinyl pressing from Southern Lord with bonus track and brand new artwork in thick Stoughton gatefld jacket with spot uv-varnish.


    Formed as a Bay Area hc/punk rock band called Asbestosdeath, the band changed their musical direction and name and debuted as Sleep with their Volume One album in 1991. After Justin Marler left the band, the core lineup of Al Cisneros, Matt Pike and Chris Hakius went into the studio to record a demo cassette that they sent to Earache Records. The recording was released in November of 1992 (exactly as received by the label!) under the name Sleep's Holy Mountain and went on to forever alter the musical landscape. Countless current bands cite Sleep's Holy Mountain as a major inspiration, and the unique sound and style of the record can be heard in many subsequent releases by bands from all over the world.


    Sleep's Holy Mountain created such a humongous buzz that major label London Records signed the band. Unfortunately, the label lacked the vision necessary to actually follow through and release the album that Sleep recorded, mostly because it took the not-radio-friendly form of a single song, a 63 minute long ode to weed, called "Dopesmoker." Sleep returned to the studio and edited the track down to 52 minutes and re-titled it "Jerusalem," but it was again rejected. London Records shelved the record and dropped the band, leading to their dissolution.


    Dopesmoker was recorded by Billy Anderson (Neurosis, Melvins) at Record Two Studio in Comptche, California. While recording the song, it began to form differently than the band had originally envisioned. Pike stated that "The song was getting slower and slower and then it got weird. We started tripping out and second guessing ourselves." Recording the album was difficult. Pike recalled that "There was so much to memorize for that album, and we had to do it in like three different sections because a reel-to-reel only holds 22 minutes. It was really cool, but it was one of the hardest things I've ever done in in my life." Sleep were in the studio for one month then went home to rehearse and returned for another month. Pike noted that they ended up with two or three different versions of the song.


    In the aftermath of the breakup of the band, four versions of the album were released. In 1999, Jerusalem came out with a running time of 52 minutes and is a single composition split into six identically-named tracks. There are 3 different versions/releases of Jerusalem: (1) a rare London Records promotional disc, (2) a bootleg with cover art by Arik Roper, and (3) the Rise Above/Music Cartel Records release. All three of these versions are edited and considered unauthorized versions. The version of the album titled Dopesmoker was released on April 22, 2003 by Tee Pee Records on compact disc and vinyl with a 63-minute running time. That version is the only version the band considers to be "authorized" and worthy of release. Dopesmoker stands as one of the towering achievements in recent metal history... a mesmerizing, intoxicating, and incredibly complex song that is still unrivaled in the annals of (stoner) metal!

    LP1

    1. Dopesmoker


    LP2

    1. Holy Mountain (Live at the I-Beam, San Francisco, CA 1994)

    2. Sonic Titan (Live at Gilman St, San Francisco, CA 1992)

    Sleep
    $28.99
    180 Gram Audiophile Virgin Vinyl LP - 2LPs Sealed Buy Now
  • ...And Justice For Y'all ...And Justice For Y'all Quick View

    $21.99
    Buy Now
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    ...And Justice For Y'all

    The South will smoke again. The Bible Belt state of North Carolina, USA seems a fertile ground for hemp and stoner rock. When cult sludge act BUZZOV•EN called it a day, bass player Dave Dixie Collins teamed up with guitarist Dave Shep Shepherd and founded WEEDEATER in the harbor town of Wilmington about the year 1998. Their crushing and massive first full-length and Justice for Y'all created an immediate buzz, while critics were struggling to put a tag on their sound. Nearly everybody agreed that stoner rock, doom, sludge and some crusty elements were part of the mix, which the band simply calls weed metal. The debut was produced by renowned engineer Billy Anderson (EYEHATEGOD, NEUROSIS) as well as sophomore album Sixteen Tons (2002). WEEDEATER went out to perform live with CORROSION OF CONFORMITY and ALABAMA THUNDERPUSSY among others. After some detours of Dixie Dave, who played shortly with BONGZILLA and SOURVEIN, the third album God Luck and Good Speed hit the world in 2007 and shifted the band's focus slightly towards the stoner side. The latest full-length Jason the Dragon got delayed when guitarist Shep lost a toe due to an incident with his favourite shotgun. When the sludge driven album finally came out in 2011 shows in the US and Europe cemented the band's reputation as a fierce live entity. For the next release WEEDEATER have signed up with Season of Mist, which will reissue the complete back catalogue. Remastered and presented with its original artwork, And Justice for Y'all will also be available on vinyl for the first time. Time to lean back and get high on this WEEDEATER cult classic!
    1. Tuesday Night
    2. Monkey Junction
    3. Free
    4. Hungry Jack
    5. Shitfire
    6. Calico
    7. Truck Drivin' Man
    8. Southern Cross
    9. #86
    10. Bucket
    Weedeater
    $21.99
    Vinyl LP - Sealed Buy Now
  • The Last Spire The Last Spire Quick View

    $37.99
    Buy Now
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    The Last Spire

    Import


    And lo, Lee Dorrian, mouthpiece of Cathedral for 23 years, doth solemnly intone the death rites of this mighty British metal Titan. Born in the dying days of Thatcher's Britain, bonding over then-unfashionable, obscure names like Saint Vitus, Pentagram, Trouble and Dream Death, Cathedral's sole ambition was to record a demo tape. In fact they revolutionised doom metal, first pushing their influences into new avenues of grinding extremity, then pioneering groovier forms of '70s-indebted stoner doom.


    They've remained a reassuring and singular presence in our lives, building a rabid following worldwide with their wholly distinctive blend of rollicking British heavy metal, true doom, 70s hard rock, psych-folk, mad prog and spiky crust-punk. There was a worrying hiatus between 2005 and 2010 when some dared to wonder if Cathedral were coming back at all - but they re-emerged with 'The Guessing Game', an overflowing treasure chest of weird and wonderful goodies exploring new, bold variations on their craft. So when news came that Cathedral really were approaching the Endtyme, it was a shock.


    Personally speaking, this is the album I've been waiting to do since the first one (their landmark 1991 debut, Forest of Equilibrium), it almost feels like we made our second album last in some respects. We actually recorded a lot more material but decided to sacrifice many of the tracks to make the overall album feel more complete in its nihilism. I don't like happy endings, I never have. So many good films are ruined by happy endings and I didn't want that to be the case with Cathedral, it was my dream to bring everything full circle. Says Lee Dorrian.


    Clearly there was new impetus for reconnecting with that early spirit of doleful abjection, of sinister obsessions and lamented desires; on 'The Last Spire' Cathedral are literally doomed. We are commiserating the celebration, and in what thrilling style.

    1. Entrance to Hell
    2. Pallbearer
    3. Cathedral of the Damned
    4. Tower of Silence
    5. Infestation of Grey Death
    6. An Observation
    7. The Last Laugh
    8. This Body, Thy Tomb
    Cathedral
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Time To Die Time To Die Quick View

    $25.99
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    Time To Die

    A cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail.


    Wreathed in occult ritual and drug-culture references, with classic '70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there's the new deal with Spinefarm Records, plus - after a nine-year hiatus - the return of Mark Greening (the drummer on Dopethrone), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN'S SATYRS).


    Fueled by strong emotion and the harder sounds of late-'60s Detroit, the remodeled lineup - isolated by choice, giant stacks glowing red - set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences. Toerag Studios in London was once again charged with capturing The Sound, and (encouragingly) words like raw, hateful and sickeningly heavy are being traded.


    Founding member Jus Oborn said the following: All of our albums in the past have had a theme - revenge, drugs, black magick - and the theme of this one is death. Of course, death to us really means rebirth, so this album is a manifestation of a very primal occult belief in the final sacrifice. We have gone full circle - it was inevitable, but we had to do it. We had to kill the band so we could be reborn. It was the only way to ensure we could come back even stronger.

    LP1
    1. Incense For The Damned
    2. Time To Die
    3. I Am Nothing
    4. Destroy Those Who Love God
    5. Funeral Of Your Mind


    LP2
    1. We Love The Dead
    2. Sadiowitch
    3. Lucifer's Slave
    4. Saturn Dethroned

    Electric Wizard
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Violent Sleep Of Reason The Violent Sleep Of Reason Quick View

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    The Violent Sleep Of Reason

    Pressed On Grey / Black Splatter


    Limited To 1000 Copies


    The Violent Sleep of Reason, the band's eighth full-length studio album, finds MESHUGGAH building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand.


    "There's a distinct methodology", says drummer, writer and spokesman for the band Tomas Haake, that was put into motion to help the band achieve the level of "intensity" the attentive fan will feel as he/she makes their way through The Violent Sleep of Reason.


    For this one, it's all live takes, with either 3 or 4 of the band members recording their respective instruments simultaneously - which is a way of recording they haven't used in many years. And that definitely goes against the stream of what you see in most technical metal nowadays, where editing, drum programming, the use of "beat detectives" etc. is a way more common approach to recording. So on this one, MESHUGGAH went back towards a more old-school approach, properly rehearsing the songs as a whole band before going into studio to record them. Jens was in one room, guitarists were in one room, bass player Dick was sitting right next to the drum set with an amplifier/cab in the next room. So in that sense this is more "old school"; the methodology is in that sense more like what bands were doing in the '80s and 90s. "And that vibrancy comes out", says Haake; "it's a very audible difference, sloppier sounding if you will, but at the same time it brings a different energy than the last few albums - this is "less perfect", but in that sense, also more alive."


    The personal challenge taken on by the band produced fortunate byproducts as well, or, rather, it inspired them to "de-machine" other aspects of the technical MESHUGGAH juggernaut.


    "Yes, for this one we also changed our approach toward the guitar recording/sounds," explains Haake, who nonetheless confirms that the band is still using eight-string axes, and for the most part, tuning down half a step to achieve that torrid MESHUGGAH guitar grunt. "The last few albums have been mostly digital, guitar sounds-wise, using all digital guitar gear as opposed to analog tube amps and regular cabs. The upside of using all digital like we did previous, is you can re-amp it afterwards, as it's basically a clean signal so you can pick, choose, and tweak things at a later point. But with this album, it was six speakers, all separately miked in one (super-loud) room, each cabinet with a different head -Marshall, Orange, Mesa Boogie etc-and then mixing it up a little bit depending on the song. If there was a song that was a little slower and sludgier, we might add more of the Orange amp to get a tad more of that stoner sound. And if it's a bit more metal, we'd maybe use the Marshall head or the Mesa head a little more in the mix. So we did have the opportunity, to mix and match for each song so the guitar sound is not exactly the same for every song. And that's a difference from Koloss and obZen, for example, where pretty much every song had the same drum and guitar sound."


    But the end result is still a relentless onslaught of MESHUGGAH -patented ideas, save for one gorgeous and atmospheric respite, at the close of "Stifled."


    Framing the pacing and contours of record, Tomas says, "None of the songs stick out quite like, for example, the way "Bleed" did on obZen. To me, it doesn't really have hits-it just has really cool songs! Not that we ever really had "hits" though (laughs). They're just maybe a little "wilder" sounding on this album, much due also to the live recording approach. Dick and I wrote about half of the material, and the rest was either me and Mårten working together or Mårten writing on his own. We were kind of going for something nuts as is the case with all our writing/recording albums - We wanted to hear something that we hadn't heard ourselves do before." Fredrik was not part of the songwriting for this one, as he's been hard at work on his next solo album, but as always he was still very involved with every aspect of the recording, from recording rhythm guitars, guitar solos etc . "And that's also a completely new thing," continues Tomas. "Dick was never involved in the songwriting prior to this album, whereas Fredrik always was. And that, of course, creates a difference in the way the album as a whole came out."


    At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of "the violent outcome of not dealing with what is going on, the violent implications of being asleep. "The title is actually inspired by a Goya painting called 'The Sleep of Reason Produces Monsters.'"


    A second highlight is strident opener and longest song on the album, "Clockworks," which is strafed by a typically super-human drum performance from Haake. "That's more about looking to yourself and who you are and things you want to change about yourself. And then in the context of how your mind works, as a clockwork. It's the idea of taking out all the little pins, wheels, and springs and kind of rebuilding it to make you function in a different fashion. So lyrics for that song is a look in on self, at things that you wish that you could change about yourself."


    Listen to tracks like the vertigo-inducing "Nostrum" and the slower if equally circular and note-dense "By the Ton," and it's easy to understand why it's been four years since a MESHUGGAH album. But mind-numbing complexity of the material is not the only reason, explains Haake.


    "No, well, I would say first of all, it takes us a lot of time to write. And we're very bad at focusing; we're very bad at multitasking. I don't think we ever wrote one single riff on a tour bus or in a hotel room. So if you have a touring cycle of two, two-and-a-half, three years, there's not going to be anything written in that time period. And that's just how we all function. We need to have a break, like, okay, time out now-nothing else for a year. We need to write for one year. But you also want to tour as much as possible for an album. Koloss, for example, we toured for like two-and-a-half years. And then you write. And when we do finally write, we scrutinize those songs, riffs, structures over and over and over, and change things as we go. So in a lot of the songs, maybe only one riff was actually there originally. So writing for us does take a long time, no doubt."


    As a result, the band's erudite and intelligent fan base "get something that they don't really hear in any other bands". On the first album you still hear a lot of Metallica and Anthrax and Bay Area kind of thrash metal influence. "We knew that we sounded a bit like that, but we were aiming for something we hadn't heard in any other band. And that's still the main fuel. We're not trying to write your average metal song. We're not trying to write catchy songs. We're not trying to write hit songs (laughs). We're just trying to write something that is cool, that we haven't heard before, and hopefully our fans haven't heard before. And that also gets harder and harder though, because by now, there are so many awesome musicians and bands and so much great music out there. But it would seem like the followers that we do have, the people that have kept buying our albums and stayed with us for a lot of years, are not necessarily the typical metal fans. The crowd we have is diverse. We have a lot of geeks and nerds and weirdos, and they are beautiful ones, you know? We have a lot of people with talent, and a lot of people that are also interested in music as art, and not just an event."


    But it's not lost on Tomas that MESHUGGAH is making daunting progressive music, music where melody is subservient to jackhammer rhythm, as evidenced by the way that even his lead singer, Jens Kidman, is situated within the maelstrom that is MESHUGGAH


    "He's the perfect tool for the job. Just like most people, we all, of course, like music where there's "proper singing", and we all love a great singer. Personally, I think the voice is the most empathic instrument. You hear someone sing and you're like, oh my God, that's the coolest instrument in the world. But at the same time, what we're trying to do is not that. Just like the guitars and me as a drummer, Jens also is a rhythmic tool, one that adds aggression, as well as words to back up that aggression if you will."


    So would Tomas then acquiesce to the idea of MESHUGGAH as metal's reigning enemies of melody?


    "In a sense, yeah. I mean, there is definitely melody and a lot of melodic thought put into tonalities, harmonies between bass and guitars and things like that, but at the same time, we're not often going for anything pretty. Sometimes there's a little bit, where we go, 'Awww, that's beautiful," but then we usually immediately mess it up again. You give it a little bit of something "nice" sometimes, but basically we're not going for niceness (laughs)."


    Produced by Meshuggah; engineered by Tue Madsen, Puk Studios, Kaerby, Denmark.

    1. Clockworks
    2. Born In Dissonance
    3. MonstroCity
    4. By The Ton
    5. Violent Sleep Of Reason
    6. Ivory Tower
    7. Stifled
    8. Nostrum
    9. Our Rage Won't Die
    10. Into Decay
    Meshuggah
    $27.99
    Colored Vinyl LP - 2 LPs Sealed Buy Now
  • Horrible Night Horrible Night Quick View

    $37.99
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    Horrible Night

    Recorded during the summer and autumn of 2012 at Hampshire's Earth Terminal and London's Earthworks studios, Horrible Night is the sound of MOSS emerging from its cocoon a much more savage, intelligent and all the more terrifying beast. While no longer obsessed with extremity for its own sake - with weirdly infectious riffs, eccentric vocal melodies and no song over 12 minutes - MOSS remain heavier-than-thou, broadening their horror beyond any imposed 'scene' expectations. This mastery of the craft is evident from the opening moments of first track Horrible Nights - written back in 2010 it sets the course for the album, taking the twisting death-crawl of MOSS mini-epics such as Tombs of the Blind Drugged and administering a lethal dose of addictive melody, cooked up by the colossal riffs of Dominic Finbow and the Ozzy-via-seance vocalisations of Olly Pearson. Cuts such as The Coral of Chaos and Dark Lady expand further upon this potent formula, dragging the Black Sabbath blueprint to its most nightmarish conclusion and ushering MOSS further into their newest dark age.


    With 6 tracks, MOSS proves more than ever why this English cult band is regarded exactly as such. While still no easy pill to swallow for the uninitiated, over its duration Horrible Night will demand complete mind control. Nonsense prefixes such as stoner, sludge or drone do not apply here; this is pure DOOM METAL, a celebration of horror, the arcane and the unknown.

    1. Horrible Night
    2. Bleeding Years
    3. Dark Lady
    4. Dreams From The Depths
    5. Coral of Chaos
    6. I Saw Them That Night
    Moss
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blues For The Red Sun (Out Of Stock) Blues For The Red Sun (Out Of Stock) Quick View

    $19.99
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    Blues For The Red Sun (Out Of Stock)

    Blues for the Red Sun is the second studio album by American stoner rock band Kyuss, released in 1992. Blues for the Red Sun incorporates acid rock, grunge, psychedelic rock, space rock, and doom metal, and has been compared to such acts as Black Sabbath, Hawkwind, Blue Cheer, and Alice in Chains. The album is considered a pioneer to the stoner metal genre.
    1. Thumb
    2. Green Machine

    3. Molten Universe

    4. 50 Million Year Trip (Downside Up)

    5. Thong Song

    6. Apothecaries' Weight

    7. Caterpillar March

    8. Freedom Run

    9. 800

    10. Writhe

    11. Capsized

    12. Allen's Wrench

    13. Mondo Generator

    14. Yeah
    Kyuss
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Come My Fanatics (Out Of Stock) Come My Fanatics (Out Of Stock) Quick View

    $37.99
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    Come My Fanatics (Out Of Stock)

    Import


    What a difference two years can make ... Between their self-titled debut and this follow-up, Electric Wizard beefed up and distorted their sound and polished their song-writing and the result has taken them light years beyond what the first album achieved. For this reason alone, anyone interested in the band's history and how a young group can progress in leaps and bounds, these two albums are worth seeking out and hearing. The most obvious improvement in the band's style is the overall sound: thick and grimy textures in slower-than-slow guitar chords and riffs, accompanied by basic drum rhythms and a washed-out wailing vocal singing lyrics of despair at the present world and conjuring avenues of escape from the social and political oppression in our society.


    We dive straight into the deep end with Return Trip, a crusty doom sludge song if ever there was one, with black grime peeling off riffs to expose a raw layer that quickly changes to hard and dark and bleeds off in turn. The song sticks to the straight and narrow: even an extended instrumental passage doesn't attract a wiggly guitar solo, and it's only towards the end the song acquires layers of melody and riffing to suggest the vocalist's increasing mental derangement. Jus Oborn's singing isn't great - it's more like chanting or shouting sometimes - but his voice has a rough, anguished edge suited to the lyrical content. Real life is cold, hard, tyrannical, unjust and abusive and for many people the only way to stay sane is to escape into one's own world through the portal of hallucinogenic drugs. Wizard in Black and Doom-Mantia take up where Return Trip leaves off: these are epic tracks that extend the sludge / stoner doom trip out further into the realms of psychedelia, the latter track featuring treated vocals and multi-tracked voices (or so they sound).


    Ivixor B / Phase Inducer is a wonderfully trippy mindfuck of a piece featuring a seemingly endless loop of female chanting with bubbly guitar effects and lazy bass rhythm followed by an abstract spacey tone piece that probably fell from an old pre-Autobahn Kraftwerk album and needed a home, so why not here. The atmosphere is spooky without appearing sinister. The two separate passages of the track are combined in a way that suggests a breakdown in a spaceship's communications with Earth while the astronauts are overcome by strange cosmic forces that can't be understood by rational people. Very original and quite ingenious!


    The remaining tracks on the album suffer for being footnotes to the instrumental track and the strong first half of the album. Son of Nothing is hardcore melodic rock with metal trimmings in style and its post-apocalyptic / sci-fi lyrics embody both hope and fear as the remnants of humanity flee a scorched Earth to find a new home. Solarian 13 brings up the rear with a mix of gently buoyant and seesawing grime-thickened guitar rhythms around which trippy ambient effects swirl and tease.


    The album draws its strength from a more streamlined musical approach in which music serves to enhance each song and its subject rather than fill out empty spaces with frills or show off individual musicians' dexterity and master of their instruments; and also from powerful lyrical themes of alienation, global destruction and flight to new worlds whether internally in one's head as a form of escape or externally for survival. Fantasy, the apocalypse and its aftermath, and science fiction elements of space travel through drugs and spaceships, and human migration to new worlds combine with doom, stoner and sludge metal to generate an original piece of work in Come My Fanatics .... It's on this album that EW find their calling.


    - NausikaDalazBlindaz (The Metal Archives)

    1. Return Trip
    2. Wizard in Black
    3. Doom-Mantia
    4. Ivixor B / Phase Inducer
    5. Son of Nothing
    6. Solarian 13
    7. Demon Lung
    10. Return to the Son of Nothingness
    Electric Wizard
    $37.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • Red Fang (Out Of Stock) Red Fang (Out Of Stock) Quick View

    $19.99
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    Red Fang (Out Of Stock)

    Red Fang is the self-titled debut album by the American stoner metal band Red Fang, released in 2009.
    Prehistoric Dog
    Reverse Thunder
    Night Destroyer
    Humans Remain Human Remains
    Good to Die
    Birds on Fire
    Wings of Fang
    Sharks
    Whales and Leeches
    Witness
    Red Fang
    $19.99
    Vinyl LP - Sealed Temporarily out of stock
  • Oak & Bone (Out Of Stock) Oak & Bone (Out Of Stock) Quick View

    $11.99
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    Oak & Bone (Out Of Stock)

    The debut LP from Syracuse, NY's OAK & BONE realizes a sound they have been working towards since their inception. Their first 7 on Hex showed the rocking and groovy stoner metal vibe in a more punk fashion. A split 7 with labelmates LIKE WOLVES last year offered a more trippy vibe to coincide with their fuzzed-out punk attack. Now on this full length you see all sides, anchored by an overpowering bass overload and reverb-ed out guitar leads. 11 tracks of surreal heaviness and monster grooves make this an awesome first full length. For fans of Kyuss, KARP, and Eyehategod.
    1. Oakener
    2. Purge
    3. Poison Snow
    4. Acid Coffin
    5. Breeders
    6. Heavy Head
    7. Stump
    8. Pilgrimage
    9. Acres
    10. Untitled
    11. Dust Cult
    Oak & Bone
    $11.99
    Vinyl LP - Sealed Temporarily out of stock
  • Paegan Terrorism Tactics (Out Of Stock) Paegan Terrorism Tactics (Out Of Stock) Quick View

    $27.99
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    Paegan Terrorism Tactics (Out Of Stock)

    Louisiana group Acid Bath achieved a good deal of notoriety in the '90s for their musical ability of blending extreme, grindcore-influenced sludge metal and eath growls with a mixture of melancholic goth-style vocals, spoken word, and acoustic guitar passages. Their combination of stoner and doom metal roots with influences from hardcore, black metal and blues-rock created a unique sound that influences many bands today.


    Before Acid Bath dismantled in 1997 they created their second and final full-length album Paegan Terrorism Tactics which futher established the band's unique Southern hybrid of metal with a more melodic songwriting approach. The songs are stylistically all over the map, but bound together in part by frontman Dax Riggs' powerful singing and dark lyrics. Remastered on vinyl for the first time!

    1.  Paegan Love Song

    2.  Bleed Me an Ocean

    3.  Graveflower

    4.  Diab Soule

    5.  Locust Spawning

    6.  Old Skin

    7.  New Death Sensation

    8.  Venus Blue

    9.  13 Fingers

    10. New Corpse

    11. Dead girl
    Acid Bath
    $27.99
    Vinyl LP - Sealed Temporarily out of stock
  • Win Us Over (Out Of Stock) Win Us Over (Out Of Stock) Quick View

    $24.99
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    Win Us Over (Out Of Stock)

    Double LP reissue of ASG's classic 2008 record, remastered for vinyl! This is a triumph of a record that has LONG been out of print!


    SG's fourth album is filled with big beefy guitar riffs and melodic foreboding that is soaked in Southern roadhouse whiskey and are hazed out through a kaleidoscopic squall that packs a walloping sonic punch.


    While the ingredients of stoner rock, psychedelic metal, and angst-ridden punk rock are transparent, ASG doesn't fit under any particular category. Be you a fan of plain ol' rock and roll and don sleeveless flannels while sucking down 22 ouncers and getting' rowdy - or enjoy waxen' deep on the bong, Win Us Over lives up to it's namesake.

    1. Right Death Before
    2. Dream Song
    3. Low End Insight
    4. Glow
    5. Coffee Depression Sunshine
    6. The Dull Blade
    7. Ballad Of Richard K.
    8. Taking Me Over
    9. A Number To Murder Two
    10. Gallop Song
    11. Palm Springs
    12. Win Us Over
    13. Bombs Away
    ASG
    $24.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
  • The Cavern (Out Of Stock) The Cavern (Out Of Stock) Quick View

    $17.99
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    The Cavern (Out Of Stock)

    Inter Arma follow up their universally acclaimed 'Sky Burial' with the epic 40+ minute one-song 'The Cavern' ep. Recorded during breaks from the relentless touring the band did on the 'Sky Burial' album with the likes of Baroness, Russian Circles and more, this new ep is the ultimate exhibition of the genius that Inter Arma have always hinted at. Unparalleled musicianship meets the soulfully deranged vocalis of Mike Paparo to create one of the most impressive pieces of metal to be released this year. Shifting from Americana laced extreme metal to doom to stoner rock to prog all within a single song, Inter Arma's 'The Cavern' is an opus that will surely be heralded for years to come along the likes of Sleep's 'Dopesmoker' as a work of true artistic vision and endurance.
    1. The Cavern
    Inter Arma
    $17.99
    Vinyl EP - Sealed Temporarily out of stock
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