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BL_CK B_ST_RDS (Deluxe Edition)

    MF Doom’s first group and their controversial sophomore release Bl_ck B_st_rds now available as a double CD containing the full the album with a second disc of bonus material including rare cuts, remixes and instrumentals, and a 32-page booklet of liner notes and rare photos compiled by Brian Coleman, featuring interviews with MF DOOM, Pete Nice, Dante Ross and Bobbito Garcia. The words “lost classic” get thrown around from time to time, but KMD’s sophomore album, Black Bastards, truly fits the bill. Originally scheduled for release in the spring of 1994, their label unceremoniously shelved it at the eleventh hour due to controversy over the provocative cover art. Surviving group member MF Doom (then known as Zev Love X) – as fans know, his younger brother Subroc was killed in 1993 tried to release the album on other labels, but met more dead ends. Sadly, it languished in hip-hop purgatory until six years later.

    Even then, the album had only a limited release via small indie labels. Beyond the fact that the controversy surrounding the cover featuring the group’s long-standing mascot being hanged by a makeshift gallows was unfair, the group’s fans being denied access to this album only compounded the injustice. Because musically and lyrically, it was a truly amazing record, full of youthful creativity, tinged with the stress of growing up as black men in urban America. Unlike on the group’s 1991 debut, Mr. Hood, Subroc had fully come into his own as both a producer and an MC on Black Bastards, and his untimely death made the album’s shelving that much more tragic. Heavily influenced by the mind-bending spoken word album Blue Guerrilla by Gylan Kain (from 1970), songs like “What A Nigga Know” (the only single released from the album), the slippery, bass-driven “Get U Now” and the album’s title track explore black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw many times both concurrently the tracks gave both MCs the springboard they needed to express themselves clearly, whether on the catchy, more lighthearted “Sweet Premium Wine,” the psychedelic, abstract “Suspended Animation” or the intricate mash-up of television samples heard on the instrumental “Garbage Day #3.

    White Hills

    Splintered Metal Sky

      New York’s WHITE HILLS are the opposite of a comet. They suck up an explosion of energy on the surface of the earth; from spirituality, from adrenaline, from the history of synthesized electronic music, from substance use, from philosophy, from friends and enemies alike, from MOTHER FUCKING ELECTRICITY and they focus it into a blinding beam of energy which they reflect back out into the void and this beam is a message. It is a statement which reads: “FUCK YOU. WE ARE HERE. WE ROCK, THEREFORE WE ARE.” -John Doran, The Quietus. October 2020 brings the release of Splintered Metal Sky, the long-awaited new installment in the ever vast musical cannon of WHITE HILLS. The album takes the listener on a post-punk, psychedelic ride fueled by industrial-strength fuzz and propelled by powerful beats where songs weave in and out of each other to imitate the rhythm of the city the band calls home. Splintered Metal Sky is about oscillation and evolution. It’s metamodern music looking at human existence in relation to technology and the hyper-driven architectural reshaping of a city. The music was largely inspired by the drone and roar of machinery pulsing through New York City, which is in a never-ending state of demolition and reconstruction. Dave and Ego took to the streets, gathering field recordings of sounds from the subway, drills, jackhammers, people in parks, traffic, mayhem and the occasional silence.

      These recordings were then manipulated and constructed into rhythmic lines that were used as the basis for songs. The music, mixing noise with disciplined beat, embodies the paradoxical nature of the city: the grimy littered dead end alley just steps away from the sleek luxury skyscraper; the half eaten chicken bone being devoured by a rat on the subway tracks just beneath the glittering facade of the Chrysler building; the endless milling about of the 8 million people who call this slab of land home on their way to and from everywhere and nowhere. Informed by industrial innovators Einstürzende Neubauten and SPK, the avant garde post-punk of Tuxedomoon and the dub-electro of Cabaret Voltaire, the album vibrates with the energy of a sensually feral, raw beast.

      Metal is a collaborative endeavor between Bristol and London artists Jamie Paton and Mike Bourne of Cage & Aviary and Teeth Of The Sea, respectively. A shared love for modular synthesis brought the two together in 2018 for a series of improvised live performances and the tracks featured on this EP were born from rehearsals for those sessions. What draws ESP to this music is its paradigmatic nature. The tracks are exercises in improvisation yet there is a level of control in which the performance slowly comes alive. Jam sessions allow for artistic gratification, a freedom of form often at the expense of the listener, but when artists set forth exacting parameters, there grows an opportunity for alternate forms of fulfillment on both sides of the experience. As is typical among stylistic prototypes, a reduction of tools frees the artist to narrow their focus and explore more singular modes of performance. Jamie and Mike chose texture as a concept, namely Metal, and following the aforementioned methods, minimized their instrumentation toward the aesthetic representation of that element. Operating in a void without the convenience and advantages of the infinite tools we’re now accustomed to, they exhausted a short list of granular details, honing their concept to a fine point. Throughout these three iterations on the theme, we hear timbres that depict metal literally, but moreover we gain a view into the duo’s visceral attachment to its materiality, abstractions of its surfaces, and an overall transgression from conventional constructs of beauty. The idea is simple, designed with discipline to romanticize both the crudeness and elegance in one of Earth’s most industrious and enigmatic elements. Metal.

      Metal Mirror

      English Booze

        Metal Mirror - ”English Booze”45 rpm single from 1980 reissued for the first time ever!! Metal Mirror came from the Midlands and their lone single originally released in '80 is a loud and heavy ode to english booze that will leave you headbanging and craving for more... Pour another pint or two of luke warm ale or stout and flip the single over for the insanely rough and previously never before reissued ”Rock’n’Roll Ain’t Never Gonna Leave You” and you’ll be in DIY-metal-punk-pub-heaven.

        The original artwork from 1980 is reproduced and the sound is carefully remastered.

        File under: ”beyond essential listening for any rock’n’roll fan”.


        Ltd 7" Info: Repro picture sleeve on BLACK vinyl. 350 for the UK.

        * Officially sanctioned by original members Charles Bullen and Charles Hayward
        * Remastered from the original analog tapes
        * First time ever on vinyl

        Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

        Recorded from 1979 – 1980 Repeat / Metal is essentially This Heat’s third proper album, although it was released posthumously in 1993. Arguably their most radical work, Repeat / Metal features side-length tape experiments ranging from the dubby drum loops of “Repeat”, a 20 minute edit / reworking of their landmark piece “24 Track Loop”, to the gamelan-inspired sounds of “Metal”, an electro-acoustic work recorded outside of their studio, Cold Storage, and helmed by member Gareth Williams.

        Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

        Rising from the wreckage of a war torn planet, Czarface joins forces with MF Doom in the epic "Czarface Meets Metal Face"! Blending Doom's trademark abstractions and Czarface's in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by Wu-Tang Clan powerhouse Inspectah Deck and 7L & Esoteric team up with everyone's favorite villain, MF Doom.

        With track titles like "Nautical Depth","Meddle With Metal", "Astral Traveling" to "Madness of Badness" this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks' Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off in March 2018! Long time rumored full length collaboration album from Czarface and MF Doom, fan favorite "Ka-Bang" from Czarface's 2015 sophomore LP "Every Hero Needs A Villain" had fans begging for more. Cover Art by clothing brand Mishka's head designer Lamour Supreme. Album features Vinnie Paz of the legendary Jedi Mind Tricks, and Open Mike Eagle, who's most recent album "Brick Body Kids Still Daydream" was on Rolling Stone & Pitchforks top 50 albums of 2017 list. The albums lead video "Meddle With Metal" done by Animation Firm TFU Studios who have worked with MF Doom prior on the "All Caps" video as well as with Mayer Hawthorne, Biz Markie, Cut Chemist and more! 

        Heavy Metal

        The Nietzschean Supermen Of Dustbin Rock

          " You don't just 'throw this record on' , you put the needle down and watch it happen. Staring at it distrustfully all the while. These Berlin mystics have collected the spare parts from their fleet of wrecked punk vehicles and jammed them together to form this twisted taunting monster. Pop culture references abound. The lyric sheet reading like the musings of a modern day Dan Tracey if he were a speedhead instead of a smackie. When the whole thing's done you're gonna pick it up , pull it towards your face and back a few times as if it were a Magic Eye you were suddenly gonna 'get', then put it down and come back with a friend " - Onton Nordberg / Diat.The Nietzschean Supermen Of Dustbin Rock is the third album from Berlin's almost mythical band Heavy Metal. Don't let that name put you off. This is the most sarcastic snotty take on punk rock the modern age is going to throw at you. 12 tracks that are filled with a blatent disregard for everything. A limited edition on gold vinyl with gold printed sleeve and insert. Golden times.

          Trevor Jackson (Playgroup / Underdog / Output Recordings) returns with the eagerly awaited second instalment of his 'Metal Dance' compilation series, following widespread critical acclaim in the wake of 'Volume 1'. Drawing from Jackson’s deep collection of original industrial, post-punk, EBM and new wave, the album is an inspired mix of sounds and styles, mining classics, dub versions, oddities and secret weapons inspired by his formative clubbing years at many of London's seminal nightlife haunts.

          Alongside more familiar names like Visage, Chris & Cosey, Front 242 and Ministry, the compilation includes unexpected outings by 80s artists Godley & Crème (with the obscure B-side "Babies") and an early incarnation of Sheffield’s ABC, Visa Versa, with "Riot Squad". As before, Jackson also places the spotlight onsome of the less heralded bands of the time and casts the net far and wide: Germany’s Plus Instruments, Spain’s Diseno Corbusier offshoot Esplendor Geometrico, Italy’s Neon and Yellow Magic Orchestra’s Haruomi Hosono out of Japan all feature. The selection even travels as far as Lebanon for the outrageous "Tanki Tanki" by Rene Bandaly Family, a truly one-off slice of intense political Arabic proto-techno (here re-edited by fellow Lebanese artist Rabih Beaini aka Morphosis). Rarities include tracks from pre-Liaisons Dangereuses / DAF group CHBB, Craig Leon & Arthur Brown, and Trevor's own re-edit of Rusty Egan’s "Twilight Zone," all receiving their first official release on CD.

          'Metal Dance 2' is another essential selection of anarchic machine music which remains hugely influential on today’s generation, informing the sound of groups and labels such as The Knife, Factory Floor, Gesaffelstein, COMEME, DFA and L.I.E.S.


          says: Mega selection of synthwave bangers, Industrial rumblers and skewed EDM cuts plucked from the archives by Trevor Jackson. If you're tuned into the likes of Bahnsteig 23, LIES and Macadam Mambo, you need to cop this disc.

          Christopher Lee

          Metal Knight


            Christopher Lee recorded this release at the age of 92. This Extended Play Vinyl is appropriately called ‘Metal Knight’. Sir Christopher was well-known for his devotion to fantasy and heavy metal themes, with several album releases and collaborations in the genre to his name. Having started his second career working with the Italian Symphonic Metal band ‘Rhapsody of Fire’ over a decade ago .“I associate heavy metal with fantasy because of the tremendous power that the music delivers”. The star of ‘The Lord of the Rings’ and ‘Star Wars’ sagas inspired generations of artists, with his dark, yet elegant portrayals back in the late 50’s and 60’s. His interpretation of ‘Dracula’, is considered by many to be the quintessential. ‘The Wicker Man’ and ‘The Man with the Golden Gun’, being other movies which inspired metal songs. In June 2010, he received the ‘Spirit of Metal’ at the ‘Golden Gods Awards’ from Tony Iommi (Black Sabbath) for his work in ‘Charlemagne: By the Sword and the Cross’ and his contribution to metal themes on the silver screen. In Christmas 2013, his rendition of ‘Jingle Hell’ (Bells) achieved number 18 in the Billboard Charts, making him the oldest performer (91) ever to chart. ‘Metal Knight’ is an EP featuring 4 tracks, two of which are covers from the ‘Man of La Mancha’ musical, based on the character ‘Don Quixote’. “As far as I am concerned, Don Quixote is the most metal fictional character that I know. Single handed, he is trying to change the world, regardless of any personal consequences. It is a wonderful character to sing”


            Ltd 10" Info: Limited to 500 / Picture disc.

            75 Dollar Bill

            Wood / Metal / Plastic / Pattern / Rhythm / Rock

            At last the European release of one of 2016’s most acclaimed albums. 75 Dollar Bill’s second full-length crashed onto many of last year’s most prestigious “Best Album” lists: The Wire, Uncut, The Village Voice/Pazz & Jop (and more).

            The NYC based duo of Rick Brown and Che Chen, creates hypnotic, pulsing music that weaves an ecstatic line from raw electric blues, Arabic modes and entrancing folk minimalism back to the streets of New York.

            This record differs from the last in a big way, and they brought in reinforcements! Over their few years together, Che and Rick have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who don’t all appear on this record but here they are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capp’s Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxville’s Give Thanks) on floor tom. 75 Dollar Bill’s plans for the future involve much more playing with these friends and others in bigger and smaller combos – as well as Rick and Che stripped back to the core guitar and crate duo.

            Metal Dog is the stunning new release from guitarist Andy Summers. An all instrumental album replete with razor edge guitar that pushes to the outer edges of generic description. Kicking off with the title track which opens with a compulsive metallic figure that insinuates itself immediately, the track bursts into almost an indie rock chorus in its B section to be followed by a quirky fuzzed out guitar solo that rises and rises - until it merges back into the song like choruses that take us out. Tracks in the middle of the CD Qualia and How Long is Now are loaded with freaky almost Balinese textures. These compositions - exotic as they are - retain a sunny mood, rather than the darkness that is associated with so much loop style music. This feeling is carried further by Summers in the following track Harmonograph which opens with a guitar solo that pierces the honeyed texture like an arrow- eventually falling into a wild blanket of harmonic distortion for a release that is like bathing in warm waters. Ishango Bone the fourth track on the CD presents a seemingly simple guitar figure that snakes along in what might seem to be a dark and primitive landscape , but then falls into what might be a radiant valley indicated by the soaring guitar and then- as if night falls - returns to the primal source from which it emerged. There are many other track on Metal Dog that highlight Summers innate guitar skill but more importantly these tracks illustrate the use of the instrument to achieve a modern guitar music that is fresh and challenging and a style that pushes past the standard ideas of genre. At turns lyrical, dark and cinematic the result is one of intrigue and ultimate reward. 

            King Heavy Metal, the second release from Robert Pollard’s self-described “supergroup” (tongue practically piercing his cheek with self-deprecating irony), is a hitherto undiscovered species of rainforest songbird capable of changing colors in the ultraviolet and infrared spectrums. At once prog-struck, collagist, technically impressive and melodically complex, King Heavy Metal lives up to and subverts its title over the course of its twelve songs. There’s stuff on here that wouldn’t be out of place on any post-Isolation Drills Guided By Voices album, stuff that wouldn’t be out of place on an alternate-universe mid-’70s Who album, and stuff that’s as lo-fi, booze-addled and sloppy as anything from “classic”-era GBV.

            Pollard’s determined to establish Ricked Wicky as more than just another solo or side project: it’s a proper, self-contained group with significant contributions, both instrumental and songwriting, from guitarist Nick Mitchell (long time GBV / Pollard stalwart Kevin March supplies drums). Mitchell sings lead on two songs here, both presumably written by him as well: “Imminent Fall From Grace” and “Weekend Worriers.” The latter is a kind of “A Salty Salute” update, with Pollard taking the anthemic first chorus, but Mitchell handling the rest of the vocals. Stranger, but in some ways more interesting, is Mitchell’s other contribution. “Imminent Fall From Grace” contains probably the most straightforward, earnest lyrics ever associated with a Pollard record—and yet, bizarrely, the song fits, and fits well, with the sort of no-fucks-given experimentation on display throughout King Heavy Metal.

            From the skewed-time-signature stomp (with periodic King Crimson-esque breakdowns) of “Come Into My Wigshop” to the voice-over montage intro to “Tomfoole Terrific” to the Sabbath-y riff fest (with added insane babbling chorus) of “Ogling Blarest,” the record hops from genre to genre (sometimes within the same song) with the giddy glee of a kid in a record shop. What makes King Heavy Metal different from pastiche-laden past efforts (like, say, I don’t know, Bee Thousand) is the level of technical mastery (high) and recording fidelity (high) and altered consciousness (very high) on display. Though Pollard contributes his own often-underrated guitar heroics, when Mitchell cuts loose with a solo—as he does on, for instance “Map and Key”—it’s like, “Who let Ritchie Blackmore into the studio?” The answer is probably Ritchie Blackmore let himself in the studio, because he’s Ritchie Blackmore, and has his own studio, but on “Map and Key” Mitchell’s blistering, melodic runs coil and twist around Pollard’s epically melancholic constructions with impressive brio.

            King Heavy Metal is not devoid of signature Pollard moments, like the power pop chug of the album’s opener “Jargon of Clones,” or the lo-fi balladry of “Too Strong for No One to See You,” but the emphasis here is on pushing limits. While not the weirdest record in Pollard’s discography, King Heavy Metal is a very rare bird indeed. Just listen. 

            Streaky Jake

            What’s Wrong.... Nothing

              'Swoop Swoop (aka Streaky Jake) sounds like he fell down a deep old well, and couldn't get out. At the bottom, he had a lot of time to think about life and people and how irrational they can be. He cried out for help, over and over, but no one heard him. So he just started singing. While others have compared him to The Soledad Brothers, Devendra Banhart and Mazzy Star, his weightless sound reminded me of fellow welldwelling contemporaries, Zach Rogue and Damien Jurado. Incorporating a gritty lo-fi 60s sound, his songs would have also slotted in nicely somewhere on The Forest Gump Soundtrack, maybe for that classic shot of Jenny out the bus window.'


              Epic Fits (Limited Metal Box Edition)

                Born in a basement, based in London, the first outing of Pre had the entire audience locked outside, watching through barred windows from above. To the assemblage up top, it was clear that these five noise sprinkled nu-wavers had already figured it out - sound moves quicker in high pressure. And now, weighing 14 songs, "Epic Fits" is born. Recorded in a chilly pizza storage unit with Westminster Brown at the controls, Pre's full length is cold sweat caught on two inch tape. Guitar, bass, bass, drum and moon shriek: Pre make the noise jump. Pre are a band people are talking about - fronted by Comanechi's vocalist, they were asked to appear on Rough Trade's "Counter Culture" compilation CD and made waves on a sold out tour with the Gossip.

                FORMAT INFORMATION

                Ltd CD Info: Limited edition metal box CD individually numbered, packaged with a fold out poster sleeve in an embossed metal box.

                New Young Pony Club

                Ice Cream - Herve / Metal On Metal Remixes

                  Live favourite, New Young Pony Club anthem and Intel advert soundtrack "Ice Cream", gets re-released! The track is a sparsely minimal punk funk jerkout that sounds like a distaff version excursion on disco-era Rolling Stones fronted by the Slits' Ari Up and produced by David Byrne and Brian Eno. This CD single also includes and extended version plus video, AND remixes by Herve and Metal On Metal, both more for peak-time club play.

                  FORMAT INFORMATION

                  CDS Info: CD single includes "Ice Cream" album version and extended edit plus remixes by Herve and Metal On Metal.

                  As I Lay Dying

                  A Long March: The First Recordings

                    In the United States As I Lay Dying are already one of the biggest exponents of the metalcore / new wave of American heavy metal genre next to Killswitch Engage. In order to bridge the gap to their next studio album and as a gift to their loyal fans, the band have re-released their early recordings on an album titled "A Long March - The First Recordings". Included are all the tracks from their debut "Beneath The Encasing Of Ashes", as well as the songs from their split CD with American Tragedy, both originally released in 2001.

                    The Red Chord


                      Vicious, complex hardcore / grind / mathcore apocalypse of sound. A densely structured maelstrom tightly bound by precise hammer blows and coloured by searing guitars and dark exorcistvocals. Like opening the door on a blast furnace.

                      As I Lay Dying

                      Shadows Are Security

                        Polished yet savage metalcore, relentlessly aggressive, powered by thudding, machine piston drumming a coloured by intricate, driving guitars and raw throat screaming. AAAAAAAAGGGGGHHHHHHHHH!


                        The Oncoming Storm

                          "The Oncoming Storm", Unearth's third album and Metal Blade debut is probably their best to date, some achievement following on as it does from the critically acclaimed "Stings Of Conscience" and "Endless" LPs. This release should definitely cement their position as nu-metal/hardcore innovators, a reputation that has earned them tour slots with In Flames, Hatebreed, Lamb Of God, Killswitch Engage, Soilwork and Chimera. Vocalist Trevor Phipps gives his most powerful performance, alternating hardcore razored throat rage with a cleaner vocal style; all beautifully set against a burning double seven string guitar assault and bruising double bass, fuelling crushing breakdowns. Gorgeous, apocalyptic and articulate.


                          Acoustically Challenged

                            Recorded at Radio 3 Warsaw, Poland this acoustic set from Pendragon was recorded on their 2001 tour and highlights the strength of two acoustic guitars, one piano and vocals. "Acoustically Challenged" shows the quality of the songs from the Irish folk lilt of "The Pursuit Of Excellence" to the Latin / jazz feel of "Alaska" and "Dark Summer's Day".

                            Hapshash & The Coloured Coat

                            Featuring The Human Host And The Heavy Metal Kids

                              Hapshash & The Coloured Coat released this debut in 1968 and it's something of an electric mayhem and freeform psychedelic freakout. Art designers Michael English and Nigel Weymouth, whose striking graphics were seen on many bright and trippy posters for psychedelic clubs like the UFO and Middle Earth in London, were the creative talent behind this band along with DJ and manager Guy Stevens. They incorporated flower power, love, peace and acid into a psychedelic rock lifestyle. Could only have been recorded and released in the late 60s.

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