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Upheld by head-spinning seven-string virtuosity, yet also anchored to skyscraping melodies, the group crafted twelve no-nonsense and no-holds-barred metallic anthems on their 2021 second full-length album, You Will Be The Death of Me [Nuclear Blast].\u003c\/p\u003e\n\u003cp\u003e“The past few years have helped me to become much more personal in my writing,” explains Howard. “Even though I’m kind of a loner, this band became real family. My experiences with Ryan and Fran inside and outside of the band truly bonded us. I think it shows in this album, it truly represents who we are as a group.”\u003c\/p\u003e\n\n\u003cp\u003e“Every second on this record was thought-out,” adds Fran. “Howard’s performance gives me chills, because it feels so alive. There’s so much emotion in it. I know the guy very well at this point, and our friendship is a big part of Light The Torch.”That friendship cemented over the course of the past three years. The group shot out of the gate as a contender on their full-length debut, Revival. It bowed at #4 on the Billboard US Independent Albums Chart and at #10 on the Hard Rock Albums Chart in addition to receiving acclaim from Revolver, Outburn, and many more. “Calm Before the Storm” racked up a staggering 14.5 million Spotify streams, while “The Safety of Disbelief” remains one of SiriusXM Octane’s all-time most requested songs. They also crisscrossed North America and Europe on tour with the likes of Trivium, Avatar, In Flames, Ice Nine Kills, Killswitch Engage and August Burns Red to name a few.\u003c\/p\u003e\n\n\u003cp\u003eIn late 2019, an idea for the title track “Death of Me” kickstarted the creative process. The guys returned to Sparrow Sound in Glendale, CA to once again work with the production team of Josh Gilbert and Joseph McQueen [Bullet for My Valentine, As I Lay Dying, Suicide Silence].This time around, they also welcomed Whitechapel’s Alex Rudinger on drums. “He’s incredible,” says Fran. “He was exactly what we needed.”Now, they kick down the door for You Will Be The Death of Me with the single “Wilting In The Light.” Howard’s instantly recognizable vocals soar over a sweeping riff and rolling beat before culminating on a massive luminous hook, “Over and over again we struggle.  We’re wilting in the light, and we stumble in the dark.”“It has a different vibe and a very interesting riff,” observes Howard. “I love it when listeners can take what they want from a song. This was a special one for us.”\u003c\/p\u003e\n\n\u003cp\u003e“More Than Dreaming” opens up the record with gut-punching guitar and another knockout hook. 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For as crazy as it sounded, it worked so well.”\u003c\/p\u003e\n\u003cp\u003eIn the end, the bond between Light The Torch burns brighter than ever in the music as they deliver a definitive statement with You Will Be The Death Of Me.\u003c\/p\u003e\n\n\u003cp\u003e“We wanted to make a fully listenable and fun album that doesn’t let up,” Howard leaves off. “At the same time, we’re showing some heart, passion, and connection. 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Four singles were released from the album: 'One Step Closer', 'Crawling', 'Papercut', and 'In the End', all of them being responsible for launching Linkin Park into mainstream popularity.\u003c\/p\u003e\n","brand":"Linkin Park","offers":[{"title":"Default Title","offer_id":44812311724312,"sku":"93624941422","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-148332_281_29.png?v=1746831179"},{"product_id":"live-at-bush-hall-vinyl-lp","title":"Live at Bush Hall: Vinyl LP","description":"\u003cp\u003eA brand new album of unreleased material from Black Country, New Road, recorded at the historic music venue Bush Hall, in London at a series of unique shows at the end of December 2022.  Mixed by John Parish and mastered by Christian Wright at Abbey Road, the new album and material marks a new chapter for the band as a six-piece.\u003c\/p\u003e\n\n\u003cp\u003eFresh from the success of ‘Ants From Up There’ and with a full touring schedule ahead of them in 2022, Black Country, New Road aka Lewis Evans, May Kershaw, Georgia Ellery, Luke Mark, Tyler Hyde and Charlie Wayne, wrote an entire new set of material to perform.  Playing to swelling crowds at festivals, including triumphant performances at Primavera, Green Man and Fuji Rock, they entered a new musical phase as they navigated and developed songs that were just weeks old. 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Or, maybe songs reflect back that time is always toying with us. The world of a song takes hold of us like an eternity to be lost in, with its repetitions and variations, but ultimately, as with everything else, it has a start and then ends. And there’s no place to lose time like San Francisco, where there are no seasons and all the seasons occur within one day; where the fog takes the space where your plans might have been; where there’s insane wealth all around and everyone you know and love is hanging on at the periphery and making art on any given Tuesday night.\u003cbr\u003e\u003cbr\u003eAbout Glenn Donaldson’s new record, The Town That Cursed Your Name, he says, “I realized as I was piecing it together that it's a song cycle about trying to live while also feeling called to make music”. It’s a double life when it works and a deeper doubleness to mirror the Gemini nature of songs themselves. The Town That Cursed Your Name contemplates this problem with wryness, generosity, and the micro- and macroscopic realness Donaldson is known and loved for.\u003cbr\u003e\u003cbr\u003eWhereas the 2022 collection Summer at Land’s End was a softer, gauzier world, The Town That Cursed Your Name is heavier, with fuzzed lines running through. 'Leave It All Behind' starts out with an amorphous whine but quickly launches into something both supremely melodic and buzzing at the edges. 'Here Comes the Lunar Hand' is an impressionist geometry that seems to capture the album’s themes without telling you how. Lyrically, Donaldson embraces the earnestness of his heroes Paul Westerberg and Grant McLennan. Sonically, late '80s college rock is filtered through song-forward lo-fi acts like East River Pipe and House of Tomorrow-era Magnetic Fields. Like the images that accompany his releases – flowers and residential street scenes are pushed to the breaking point with colour – Donaldson’s songs are at the same time dazzling and lurid, beautiful and burdened, not unlike life as a musician around here.\u003cbr\u003e\u003cbr\u003eIn the liner notes, Donaldson dedicates the record “to everyone who ever tried to start a band in the Bay\". There will be many knowing smiles at his title, 'It’s Too Late For An Early Grave'. But, this dedication captures something else about the particular strain of sincerity that laces the city water supply – the front man around here is on stage under those lights evincing the fervor not of the pop star but of the biggest fan.\u003cbr\u003e-Karina Gill\u003c\/p\u003e","brand":"The Reds, Pinks and Purples","offers":[{"title":"Default Title","offer_id":44888222990616,"sku":"TLV160LP","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/99f95272-ec23-c0ca-1118-19cf8ccf5b42.jpg?v=1747954217"},{"product_id":"the-town-that-cursed-your-name-cd","title":"The Town That Cursed Your Name: CD","description":"\u003cp\u003eRIYL: Sarah Records, Even As We Speak, The Field Mice, Blue Boy, The Clientele, early Belle \u0026amp; Sebastian\u003cbr\u003e\n\u003cbr\u003e\nIt’s ok to play out of time.\u003cbr\u003e\n\u003cbr\u003e\nMusic toys with time. Or, maybe songs reflect back that time is always toying with us. The world of a song takes hold of us like an eternity to be lost in, with its repetitions and variations, but ultimately, as with everything else, it has a start and then ends. And there’s no place to lose time like San Francisco, where there are no seasons and all the seasons occur within one day; where the fog takes the space where your plans might have been; where there’s insane wealth all around and everyone you know and love is hanging on at the periphery and making art on any given Tuesday night.\u003cbr\u003e\n\u003cbr\u003e\nAbout Glenn Donaldson’s new record, The Town That Cursed Your Name, he says, “I realized as I was piecing it together that it's a song cycle about trying to live while also feeling called to make music”. It’s a double life when it works and a deeper doubleness to mirror the Gemini nature of songs themselves. The Town That Cursed Your Name contemplates this problem with wryness, generosity, and the micro- and macroscopic realness Donaldson is known and loved for.\u003cbr\u003e\n\u003cbr\u003e\nWhereas the 2022 collection Summer at Land’s End was a softer, gauzier world, The Town That Cursed Your Name is heavier, with fuzzed lines running through. 'Leave It All Behind' starts out with an amorphous whine but quickly launches into something both supremely melodic and buzzing at the edges. 'Here Comes the Lunar Hand' is an impressionist geometry that seems to capture the album’s themes without telling you how. Lyrically, Donaldson embraces the earnestness of his heroes Paul Westerberg and Grant McLennan. Sonically, late '80s college rock is filtered through song-forward lo-fi acts like East River Pipe and House of Tomorrow-era Magnetic Fields. 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But, this dedication captures something else about the particular strain of sincerity that laces the city water supply – the front man around here is on stage under those lights evincing the fervor not of the pop star but of the biggest fan.\u003cbr\u003e\n-Karina Gill\u003c\/p\u003e\n","brand":"The Reds, Pinks and Purples","offers":[{"title":"Default Title","offer_id":44888240259352,"sku":"TLV160CD","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/5a24d29f-11cd-4c69-3652-ae9aed498f71.jpg?v=1747089137"},{"product_id":"cancer-culture-cd","title":"Cancer Culture: CD","description":"\u003cp\u003eAcross eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.” \u003c\/p\u003e\n\n\u003cp\u003eDECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise. \u003c\/p\u003e\n\n\u003cp\u003eInstantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław \"Vogg\" Kiełtyka (guitar), Rafał \"Rasta\" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances. \u003c\/p\u003e\n \n\u003cp\u003eSet on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław \"Vogg\" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.\u003c\/p\u003e\n\n\u003cp\u003eThe organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks. \u003c\/p\u003e\n\n\u003cp\u003eThe rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał \"Rasta\" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.” \u003c\/p\u003e\n\n\u003cp\u003eCancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios \/ Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn). \u003c\/p\u003e\n\n\u003cp\u003eThe devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.\u003c\/p\u003e\n\n\u003cp\u003e“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.” \u003c\/p\u003e\n\n\u003cp\u003eDriven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver. \u003c\/p\u003e","brand":"Decapitated","offers":[{"title":"Default Title","offer_id":45059937632536,"sku":"406562960522","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-132632.png?v=1747953961"},{"product_id":"cancer-culture-vinyl-lp","title":"Cancer Culture: Vinyl LP","description":"\u003cp\u003eAcross eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.” \u003c\/p\u003e\n\n\u003cp\u003eDECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise. \u003c\/p\u003e\n\n\u003cp\u003eInstantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław \"Vogg\" Kiełtyka (guitar), Rafał \"Rasta\" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances. \u003c\/p\u003e\n \n\u003cp\u003eSet on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław \"Vogg\" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.\u003c\/p\u003e\n\n\u003cp\u003eThe organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks. \u003c\/p\u003e\n\n\u003cp\u003eThe rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał \"Rasta\" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.” \u003c\/p\u003e\n\n\u003cp\u003eCancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios \/ Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn). \u003c\/p\u003e\n\n\u003cp\u003eThe devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.\u003c\/p\u003e\n\n\u003cp\u003e“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.” \u003c\/p\u003e\n\n\u003cp\u003eDriven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver. \u003c\/p\u003e","brand":"Decapitated","offers":[{"title":"Default Title","offer_id":45059937763608,"sku":"406562960521","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-132630.png?v=1747949588"},{"product_id":"cancer-culture-limited-edition-gatefold-red-vinyl-lp","title":"Cancer Culture: Limited Edition Gatefold Red Vinyl LP","description":"\u003cp\u003eAcross eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.” \u003c\/p\u003e\n\n\u003cp\u003eDECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise. \u003c\/p\u003e\n\n\u003cp\u003eInstantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław \"Vogg\" Kiełtyka (guitar), Rafał \"Rasta\" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances. \u003c\/p\u003e\n \n\u003cp\u003eSet on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław \"Vogg\" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.\u003c\/p\u003e\n\n\u003cp\u003eThe organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks. \u003c\/p\u003e\n\n\u003cp\u003eThe rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał \"Rasta\" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.” \u003c\/p\u003e\n\n\u003cp\u003eCancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios \/ Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn). \u003c\/p\u003e\n\n\u003cp\u003eThe devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.\u003c\/p\u003e\n\n\u003cp\u003e“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.” \u003c\/p\u003e\n\n\u003cp\u003eDriven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver. \u003c\/p\u003e","brand":"Decapitated","offers":[{"title":"Default Title","offer_id":45064577876248,"sku":"406562960528","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-132629.png?v=1759757177"},{"product_id":"electrified-brain-vinyl-lp","title":"Electrified Brain: Vinyl LP","description":"\u003cp\u003eThrash should leave you breathless, busted-up, and maybe even a little drunk (in a cut-off denim vest adorned with barely legible patches). \nSince 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet—Tony Foresta [vocals], Ryan Waste [guitar], Philip “Landphil” Hall [bass], Dave Witte [drums], and Nick Poulos [guitar]—have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted The Art of Partying in its coveted “Hall of Fame” and asserted it “revved up interest in thrash and inspired a fresh wave of youthful new bands.” Metal Hammer christened The Art of Partying one of “The 50 Greatest Thrash Metal Albums Ever,” while Loudwire pegged The Art of Partying as “The Best Thrash Album of 2007” and Hazardous Mutation as “The Best Thrash Album of 2005.” The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017’s Slime  and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. \nHowever, Municipal Waste maintain course as vicious and vital as ever on 2022’s Electrified Brain [Nuclear Blast].\n“We’re not writing any love ballads to sell records,” affirms Tony. “We’re just doing what we’ve always done since the band started—and that’s try to write fun, fast, and ripping hardcorepunkmetal.”\nThe boys commenced work on Electrified Brain before the Global Pandemic swallowed 2020 whole. However, they took advantage of the time off the road to perfect their assault. \n“It allowed us to focus on putting together structured songs,” says Ryan. “We wanted to diversify some of the tempos and bring in some new dynamics that we hadn’t ventured into before.”\n“It was by far the hardest I’ve ever worked on a record personally,” adds Tony. “We all put a lot into this one.”\nThey recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange]. The sessions would be the first time the band reunited in person after a year. Together, they achieved “a thicker and heavier sound.”\nNow, the single “Grave Dive” hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips.\n“It’s in the vein of songs like ‘Headbanger Face Rip’ and ‘Wave of Death’,” Tony notes. “It’s an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.”\n“High Speed Steel” practically splits asphalt with its jagged thrashing. Elsewhere, the title track “Electrified Brain” charges forward on a breakneck riff as a solo wails underneath the vocal snarl.\n“Electrified Brain is a part of a continuing story about a character we created called ‘The Deathripper’,” the frontman goes on. “The band has a lot of angles we return to lyrically. This is just one of them. Another example would be the large amount of Kurt Russell songs we’ve amassed throughout our catalog. Ryan wrote the lyrics to ‘Electrified Brain,’ and it’s one of my favorites.”\n“Crank The Heat” trudges over a thick doomy groove into menacing verses. “Our approach to writing it matches the lyrical content insofar as not trying to overthink things all of the time and remembering to enjoy what you’re doing,” exclaims Tony.\nAt the same time, they’ve expanded their influence throughout alternative culture. Ryan released a signature Waste guitar with RIP Custom Guitars, and Dave owns a vegan restaurant called Hang Space in Richmond. Of course, Municipal Waste will present their next beer from Three Floyds Brewing soon.\nIn the end, Electrified Brain will give you everything you’d want from a Municipal Waste record or heavy metal record, period.\n“We hope you walk away with some bloody ears, blown speakers, pissed off parents, black eyes, and a healthy distrust of authority,” grins Tony.\u003c\/p\u003e\n","brand":"Municipal Waste","offers":[{"title":"Default Title","offer_id":45064585642264,"sku":"406562961091","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-133495.png?v=1747954577"},{"product_id":"electrified-brain-cd","title":"Electrified Brain: CD","description":"\u003cp\u003eThrash should leave you breathless, busted-up, and maybe even a little drunk (in a cut-off denim vest adorned with barely legible patches). \nSince 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet—Tony Foresta [vocals], Ryan Waste [guitar], Philip “Landphil” Hall [bass], Dave Witte [drums], and Nick Poulos [guitar]—have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted The Art of Partying in its coveted “Hall of Fame” and asserted it “revved up interest in thrash and inspired a fresh wave of youthful new bands.” Metal Hammer christened The Art of Partying one of “The 50 Greatest Thrash Metal Albums Ever,” while Loudwire pegged The Art of Partying as “The Best Thrash Album of 2007” and Hazardous Mutation as “The Best Thrash Album of 2005.” The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017’s Slime  and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. \nHowever, Municipal Waste maintain course as vicious and vital as ever on 2022’s Electrified Brain [Nuclear Blast].\n“We’re not writing any love ballads to sell records,” affirms Tony. “We’re just doing what we’ve always done since the band started—and that’s try to write fun, fast, and ripping hardcorepunkmetal.”\nThe boys commenced work on Electrified Brain before the Global Pandemic swallowed 2020 whole. However, they took advantage of the time off the road to perfect their assault. \n“It allowed us to focus on putting together structured songs,” says Ryan. “We wanted to diversify some of the tempos and bring in some new dynamics that we hadn’t ventured into before.”\n“It was by far the hardest I’ve ever worked on a record personally,” adds Tony. “We all put a lot into this one.”\nThey recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange]. The sessions would be the first time the band reunited in person after a year. Together, they achieved “a thicker and heavier sound.”\nNow, the single “Grave Dive” hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips.\n“It’s in the vein of songs like ‘Headbanger Face Rip’ and ‘Wave of Death’,” Tony notes. “It’s an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.”\n“High Speed Steel” practically splits asphalt with its jagged thrashing. Elsewhere, the title track “Electrified Brain” charges forward on a breakneck riff as a solo wails underneath the vocal snarl.\n“Electrified Brain is a part of a continuing story about a character we created called ‘The Deathripper’,” the frontman goes on. “The band has a lot of angles we return to lyrically. This is just one of them. Another example would be the large amount of Kurt Russell songs we’ve amassed throughout our catalog. Ryan wrote the lyrics to ‘Electrified Brain,’ and it’s one of my favorites.”\n“Crank The Heat” trudges over a thick doomy groove into menacing verses. “Our approach to writing it matches the lyrical content insofar as not trying to overthink things all of the time and remembering to enjoy what you’re doing,” exclaims Tony.\nAt the same time, they’ve expanded their influence throughout alternative culture. Ryan released a signature Waste guitar with RIP Custom Guitars, and Dave owns a vegan restaurant called Hang Space in Richmond. Of course, Municipal Waste will present their next beer from Three Floyds Brewing soon.\nIn the end, Electrified Brain will give you everything you’d want from a Municipal Waste record or heavy metal record, period.\n“We hope you walk away with some bloody ears, blown speakers, pissed off parents, black eyes, and a healthy distrust of authority,” grins Tony.\u003c\/p\u003e\n","brand":"Municipal Waste","offers":[{"title":"Default Title","offer_id":45064585904408,"sku":"406562961092","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-133494.jpg?v=1747954076"},{"product_id":"electrified-brain-transparent-blue-yellow-black-splatter-vinyl-lp","title":"Electrified Brain: Transparent Blue\/Yellow\/Black Splatter Vinyl LP","description":"\u003cp\u003eThrash should leave you breathless, busted-up, and maybe even a little drunk (in a cut-off denim vest adorned with barely legible patches). \nSince 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet—Tony Foresta [vocals], Ryan Waste [guitar], Philip “Landphil” Hall [bass], Dave Witte [drums], and Nick Poulos [guitar]—have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted The Art of Partying in its coveted “Hall of Fame” and asserted it “revved up interest in thrash and inspired a fresh wave of youthful new bands.” Metal Hammer christened The Art of Partying one of “The 50 Greatest Thrash Metal Albums Ever,” while Loudwire pegged The Art of Partying as “The Best Thrash Album of 2007” and Hazardous Mutation as “The Best Thrash Album of 2005.” The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017’s Slime  and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. \nHowever, Municipal Waste maintain course as vicious and vital as ever on 2022’s Electrified Brain [Nuclear Blast].\n“We’re not writing any love ballads to sell records,” affirms Tony. “We’re just doing what we’ve always done since the band started—and that’s try to write fun, fast, and ripping hardcorepunkmetal.”\nThe boys commenced work on Electrified Brain before the Global Pandemic swallowed 2020 whole. However, they took advantage of the time off the road to perfect their assault. \n“It allowed us to focus on putting together structured songs,” says Ryan. “We wanted to diversify some of the tempos and bring in some new dynamics that we hadn’t ventured into before.”\n“It was by far the hardest I’ve ever worked on a record personally,” adds Tony. “We all put a lot into this one.”\nThey recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange]. The sessions would be the first time the band reunited in person after a year. Together, they achieved “a thicker and heavier sound.”\nNow, the single “Grave Dive” hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips.\n“It’s in the vein of songs like ‘Headbanger Face Rip’ and ‘Wave of Death’,” Tony notes. “It’s an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.”\n“High Speed Steel” practically splits asphalt with its jagged thrashing. Elsewhere, the title track “Electrified Brain” charges forward on a breakneck riff as a solo wails underneath the vocal snarl.\n“Electrified Brain is a part of a continuing story about a character we created called ‘The Deathripper’,” the frontman goes on. “The band has a lot of angles we return to lyrically. This is just one of them. Another example would be the large amount of Kurt Russell songs we’ve amassed throughout our catalog. Ryan wrote the lyrics to ‘Electrified Brain,’ and it’s one of my favorites.”\n“Crank The Heat” trudges over a thick doomy groove into menacing verses. “Our approach to writing it matches the lyrical content insofar as not trying to overthink things all of the time and remembering to enjoy what you’re doing,” exclaims Tony.\nAt the same time, they’ve expanded their influence throughout alternative culture. Ryan released a signature Waste guitar with RIP Custom Guitars, and Dave owns a vegan restaurant called Hang Space in Richmond. Of course, Municipal Waste will present their next beer from Three Floyds Brewing soon.\nIn the end, Electrified Brain will give you everything you’d want from a Municipal Waste record or heavy metal record, period.\n“We hope you walk away with some bloody ears, blown speakers, pissed off parents, black eyes, and a healthy distrust of authority,” grins Tony.\u003c\/p\u003e\n","brand":"Municipal Waste","offers":[{"title":"Default Title","offer_id":45064585937176,"sku":"406562961098","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-133496.png?v=1747954535"},{"product_id":"opvs-contra-natvram-vinyl-lp","title":"Opvs Contra Natvram: Vinyl LP","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e  \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time.\u003c\/p\u003e   \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.”\u003c\/p\u003e  \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.   \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e   \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e  \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e  \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065102852376,"sku":"727361598310","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135163.png?v=1746745164"},{"product_id":"opvs-contra-natvram-cd","title":"Opvs Contra Natvram: CD","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e  \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e   \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time. \u003c\/p\u003e  \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.” \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.\u003c\/p\u003e  \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e  \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e   \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e   \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065111503128,"sku":"727361598327","price":16.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135128.png?v=1747780036"},{"product_id":"opvs-contra-natvram-limited-edition-clear-black-marbled-vinyl-lp","title":"Opvs Contra Natvram: Limited Edition Clear + Black Marbled Vinyl LP","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e  \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time.\u003c\/p\u003e   \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.”\u003c\/p\u003e  \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.   \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e   \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e  \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e  \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065112617240,"sku":"406562964219","price":35.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135161.jpg?v=1746482748"},{"product_id":"opvs-contra-natvram-limited-edition-digibook-cd","title":"Opvs Contra Natvram: Limited Edition Digibook CD","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e  \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e   \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time. \u003c\/p\u003e  \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.” \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.\u003c\/p\u003e  \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e  \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e   \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e   \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065115369752,"sku":"727361598303","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135259.png?v=1746745374"},{"product_id":"opvs-contra-natvram-limited-edition-vinyl-picture-disc-lp","title":"Opvs Contra Natvram: Limited Edition Vinyl Picture Disc LP","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e  \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time.\u003c\/p\u003e   \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.”\u003c\/p\u003e  \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.   \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e   \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e  \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e  \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065120940312,"sku":"727361598341","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135162.png?v=1749668612"},{"product_id":"opvs-contra-natvram-limited-edition-white-digibook-cd","title":"Opvs Contra Natvram: Limited Edition White Digibook  CD","description":"\u003cp\u003eIn the annals of metal there is no band more synonymous with an unswerving commitment to the single-minded defiance of expectation than BEHEMOTH. Over the course of their remarkable 31-year career, these Polish hellraisers – spearheaded by Adam Darski, aka Nergal – are more than just the architects of their country’s legendary extreme metal scene. Over the course of three decades and previous 11 albums, Nergal’s singular vision has forged BEHEMOTH into something far more than a mere black metal band. Beyond any confines of genre, they have grown to become nothing less than the personification of rebellion, individuality and unflinching self-expression informed by a literate worldview and worldliness that’s resulted in a locking of horns with everything from the mainstream press to the Polish Catholic church – most notably manifesting in Nergal’s trial for blasphemy in 2010 that only served to expose the deep-seated hypocrisies that his music seeks to challenge. It also highlighted the distinct lack of fucks that he has to give.\u003c\/p\u003e  \n\n\u003cp\u003eNow world-renowned and yet exuberantly underground in their convictions, BEHEMOTH are perhaps the unlikeliest of success stories, but if their stratospheric ascent and hard-won commercial achievement can be attributed to anything, it’s a cast-iron unwillingness to compromise. As Opvs Contra Natvram, their 12th studio release heralds from the rooftops – their longevity is down to a resolute commitment to find new ways to enthrall and inspire their ever-growing legion of latter-day heretics, a determination which shows no signs of erosion. It’s changing times and new battles to fight to which Nergal attributes BEHEMOTH’s unique ability to sound fresh despite their incredible tenure. Therein lies the inspiration for the album’s title and striking cover artwork.\u003c\/p\u003e   \n\n\u003cp\u003eNever being fully satisfied and never getting comfortable is the basis of the ferocious sounds to be found on Opvs…, too, and as Nergal explains, our viral armageddon afforded him the perfect opportunity to luxuriate in the one thing that BEHEMOTH’s growing empire has never afforded him - time. \u003c\/p\u003e  \n\n\u003cp\u003e“This is the most thoughtful, the most thought-through, the most mature thing we’ve done – it’s quintessentially BEHEMOTH” he says. “It’s just bangers – all meat, no fat.” \nRenowned for his meticulous attention to detail and absolute creative control of BEHEMOTH’s world, the depressurised environment afforded by the pandemic meant that for nearly the first time since the band’s inception there was no deadline to observe, allowing for a nearly unprecedented level of attention to the process of writing and recording.\u003c\/p\u003e  \n\n\u003cp\u003eThe 12 chapters of fury that make up Opvs Contra Natvram were written and recorded over the course of a very strange year for the world, a situation which only heightened the level of craft seen in these 43 minutes and 15 seconds of honed, searing wrath. As with previous studio outings, Opvs… was produced by BEHEMOTH with engineering duties undertaken by acclaimed Meshuggah, Dimmu Borgir and In Flames producer Daniel Bergstrand. Mixing, however, involved a new player on the chessboard who you’d be hard-pressed to guess - famed producer and mixer Joe Barresi, a studio legend with a breathtaking credits list which includes Queens of the Stone Age, Nine Inch Nails, Alice in Chains and Tool just to name a few. He was chosen for his celebrated ability to simultaneously preserve a studio recording’s organic feel and identity, and the inspiration for the decision comes from a place you’d least expect.\u003c\/p\u003e  \n\n\u003cp\u003e“So much sounds flat,” says Nergal. “It’s not about how professional you sound, because everything sounds professional and overproduced these days, but you don’t need to make everything perfect – just let it breathe. When you listen to David Bowie, every song has identity – I asked, ‘does the scene really need another album that sounds like everything else?’ Every record I’ve made is me standing in front of motherfucking Mount Everest. Do I make it? Well I have to try.”\u003c\/p\u003e   \n\n\u003cp\u003eAnd from the sound of Opvs… there is no doubting the artistic summit that Nergal and BEHEMOTH are aiming for. From the colossal energy of opener Post-God Nirvana to the epic and righteous indignation of Ov My Herculean Exile and album-closer Versvs Christvs - a riveting extended track featuring piano and clean vocals which are destined to turn heads BEHEMOTH’s latest is the ultimate soundtrack to these strange and troubled times.\u003c\/p\u003e   \n","brand":"Behemoth","offers":[{"title":"Default Title","offer_id":45065126936856,"sku":"406562964210","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-135317.jpg?v=1747954323"},{"product_id":"pathos-cd","title":"Pathos: CD","description":"\u003cp\u003eThe future of British metal lies in safe hands with CONJURER, who continue their journey as the country’s most exciting young metal band with their incredible new album Páthos (Nuclear Blast).\u003c\/p\u003e\n\n\u003cp\u003eA triumphant return from CONJURER following their world-renowned 2018 debut Mire, Páthos is a band flexing their creative muscles, deepening their approach and thought, and expanding their sound.\u003c\/p\u003e\n\n\u003cp\u003eOpener ‘It Dwells’ is the perfect introduction – earth-shatteringly heavy, unconventional, uniquely beautiful, and instantly recognisable as CONJURER. The track is centred on the contradictions of the emotion of ‘fear’ – that fear can be comfortable and constant, haunting and crushing. It builds to a point of breaking – the need to end fear battling against your will to go on. The repeated screams ‘I’ll have peace’ are an ambivalent declaration of defiance – give in, or fight, either way fear is gone.\u003c\/p\u003e\n\n\u003cp\u003eTrack two ‘Rot’ continues this theme – a lumbering monster of a song, it’s a conversation between a person’s sense of self and their anxieties. As the song progresses both perspectives unify – the ‘I’ becoming ‘we’, the two halves becoming one. It’s a tortured, battered listening experience, and a blistering reminder of why the young band have become so praised so quickly. \u003c\/p\u003e\n\n\u003cp\u003ePáthos is not an album for the half-hearted or faint-hearted. Elements of Sumac, Gojira, old Mastodon and Sumac, the new record is a multi-layered beast – sludge, death, doom, black metal and hardcore influences clash and collide throughout, all masterfully finished by Will Putney’s exquisite production.\u003c\/p\u003e\n\n\u003cp\u003eThe fifty-minute runtime of Páthos is not without it’s moments of the sublime. Post-metal nods to CONJURER and PIJN’s acclaimed Curse These Metal Hands project are heard throughout, most notably in track three, ‘All You Will Remember’, and the mighty, philosophical closer ‘Cracks In The Pyre’. \u003c\/p\u003e\n\n\u003cp\u003eAn suitably open-ended climax, Páthos ends with an expansive look at loss and the afterlife. That a band can be at once so triumphantly beautiful and gut-punchingly heavy is testament to CONJURER’s quality, and a surefire sign of their future longevity at the top of Britain’s heavy music scene.\u003c\/p\u003e\n\n\u003cp\u003eCONJURER’s debut full-length Mire (2018) was released to a storm of attention from across the metal world, garnering significant acclaim from Metal Hammer UK, Kerrang!, BBC R1, Visions Mag (DE), MetalSucks, Metal Injection, Loudwire and many more. Recipients of award nominations (Kerrang!, Heavy Music Awards, Metal Hammer’s Golden Gods) and countless albums of the year lists, Mire is a stunning listen, capturing the attitude of a young band who already know exactly who they are.\u003c\/p\u003e \n\n\u003cp\u003eHailed as one of the metal world’s most devastating, thrilling experiences, CONJURER are a band never content to rest. Following Mire’s release in 2018 the quartet soon toured Europe for the first time, appeared at multiple UK festivals, and support of doom titans Conan and Will Haven.\u003c\/p\u003e\n\n\u003cp\u003eIn the following years the band have toured the US twice, supporting Rivers of Nihil (stopping to record an Audiotree session along the way), and then Voivod, with Revocation. 2019 also saw CONJURER’s debut Download Festival appearance, thrilling a packed-out Dogtooth stage, and the release of the joyous collaborative project with Pijn, titled Curse These Metal Hands.\u003c\/p\u003e\n\n\u003cp\u003eIt was only at the end of 2019 that CONJURER closed out their triumphant Mire cycle, with a sold-out UK run – their debut headline tour. Using the COVID-19 pandemic to record and craft Páthos, CONJURER returned to the live setting performing at the Download Pilot 2021 and Bloodstock 2021 mainstages.\u003c\/p\u003e","brand":"Conjurer","offers":[{"title":"Default Title","offer_id":45065178349848,"sku":"406562961500","price":15.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-132269.png?v=1746829783"},{"product_id":"pathos-limited-edition-white-vinyl-2lp","title":"Pathos: Limited Edition White Vinyl 2LP","description":"\u003cp\u003eThe future of British metal lies in safe hands with CONJURER, who continue their journey as the country’s most exciting young metal band with their incredible new album Páthos (Nuclear Blast).\u003c\/p\u003e\n\n\u003cp\u003eA triumphant return from CONJURER following their world-renowned 2018 debut Mire, Páthos is a band flexing their creative muscles, deepening their approach and thought, and expanding their sound.\u003c\/p\u003e\n\n\u003cp\u003eOpener ‘It Dwells’ is the perfect introduction – earth-shatteringly heavy, unconventional, uniquely beautiful, and instantly recognisable as CONJURER. The track is centred on the contradictions of the emotion of ‘fear’ – that fear can be comfortable and constant, haunting and crushing. It builds to a point of breaking – the need to end fear battling against your will to go on. The repeated screams ‘I’ll have peace’ are an ambivalent declaration of defiance – give in, or fight, either way fear is gone.\u003c\/p\u003e\n\n\u003cp\u003eTrack two ‘Rot’ continues this theme – a lumbering monster of a song, it’s a conversation between a person’s sense of self and their anxieties. As the song progresses both perspectives unify – the ‘I’ becoming ‘we’, the two halves becoming one. It’s a tortured, battered listening experience, and a blistering reminder of why the young band have become so praised so quickly. \u003c\/p\u003e\n\n\u003cp\u003ePáthos is not an album for the half-hearted or faint-hearted. Elements of Sumac, Gojira, old Mastodon and Sumac, the new record is a multi-layered beast – sludge, death, doom, black metal and hardcore influences clash and collide throughout, all masterfully finished by Will Putney’s exquisite production.\u003c\/p\u003e\n\n\u003cp\u003eThe fifty-minute runtime of Páthos is not without it’s moments of the sublime. Post-metal nods to CONJURER and PIJN’s acclaimed Curse These Metal Hands project are heard throughout, most notably in track three, ‘All You Will Remember’, and the mighty, philosophical closer ‘Cracks In The Pyre’. \u003c\/p\u003e\n\n\u003cp\u003eAn suitably open-ended climax, Páthos ends with an expansive look at loss and the afterlife. That a band can be at once so triumphantly beautiful and gut-punchingly heavy is testament to CONJURER’s quality, and a surefire sign of their future longevity at the top of Britain’s heavy music scene.\u003c\/p\u003e\n\n\u003cp\u003eCONJURER’s debut full-length Mire (2018) was released to a storm of attention from across the metal world, garnering significant acclaim from Metal Hammer UK, Kerrang!, BBC R1, Visions Mag (DE), MetalSucks, Metal Injection, Loudwire and many more. Recipients of award nominations (Kerrang!, Heavy Music Awards, Metal Hammer’s Golden Gods) and countless albums of the year lists, Mire is a stunning listen, capturing the attitude of a young band who already know exactly who they are.\u003c\/p\u003e \n\n\u003cp\u003eHailed as one of the metal world’s most devastating, thrilling experiences, CONJURER are a band never content to rest. Following Mire’s release in 2018 the quartet soon toured Europe for the first time, appeared at multiple UK festivals, and support of doom titans Conan and Will Haven.\u003c\/p\u003e\n\n\u003cp\u003eIn the following years the band have toured the US twice, supporting Rivers of Nihil (stopping to record an Audiotree session along the way), and then Voivod, with Revocation. 2019 also saw CONJURER’s debut Download Festival appearance, thrilling a packed-out Dogtooth stage, and the release of the joyous collaborative project with Pijn, titled Curse These Metal Hands.\u003c\/p\u003e\n\n\u003cp\u003eIt was only at the end of 2019 that CONJURER closed out their triumphant Mire cycle, with a sold-out UK run – their debut headline tour. Using the COVID-19 pandemic to record and craft Páthos, CONJURER returned to the live setting performing at the Download Pilot 2021 and Bloodstock 2021 mainstages.\u003c\/p\u003e","brand":"Conjurer","offers":[{"title":"Default Title","offer_id":45065189753112,"sku":"406562961501","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-132270.png?v=1751998829"},{"product_id":"totem-cd","title":"Totem: CD","description":"\u003cp\u003eAt the dawn of the new millennium, Rolling Stone declared, “Soulfly seem built to last.” More than two decades, countless worldwide tours, and a dozen albums later, that prophecy rings true. \u003c\/p\u003e\n\n\u003cp\u003eUnderground icon, extreme metal trailblazer, third world warrior, and leader of a diverse and dedicated tribe, Max Cavalera not only survives but thrives, blasting out riff after killer riff. The same voice, body, and spirit which launched Soulfly in 1997 summons impossibly heavy noise to this day, throwing down ten slabs of monstrous music on Soulfly’s twelfth album, 2022’s Totem. \u003c\/p\u003e\n\n\u003cp\u003eProduced by Max alongside Arthur Rizk, whom Revolver described as “the secret weapon behind Power Trip, Code Orange, and Cavalera Conspiracy,” Totem attacks without apology. It brims with the blackened-thrash and death metal bite of modern Soulfly classics like Ritual (2018) and Archangel (2015), with nods to the heavy groove of Primitive (2000) and Prophecy (2004). \u003c\/p\u003e\n\n\u003cp\u003eAmong the most prolific musicians in the genre’s history, Max led Sepultura from Brazil to the world stage, making fans out of Ozzy Osbourne, Deftones, and Dave Grohl along the way. He cofounded Nailbomb, Cavalera Conspiracy, Go Ahead And Die, and Killer Be Killed, issuing album after album to spirited acclaim from critics and fans. But no project is as singularly identified with Max as Soulfly, whose gold-selling self-titled debut arrived with unrivaled determination and spirit.  \u003c\/p\u003e\n\n\u003cp\u003eSoulfly, the moniker Max conjured, is an original portmanteau like \"Lookaway” or \"Straighthate.” The idea rose from one of the indigenous spiritual practices that inspire Max. \"Many South American tribes believe the souls of their ancestors fly around them when they play music. They can even feel the souls of the animals sacrificed to create their instruments. It's heavy shit.\"\u003c\/p\u003e\n\n\u003cp\u003eThe songs on Totem originated with a back-to-basics songwriting approach inspired by Max’s son, Zyon. Soulfly’s drummer since 2012, Zyon asked Max one day to show him how Sepultura created their early classics. The elder Cavalera describes the process as putting riffs together like pieces in a puzzle, or bricks in a pyramid. “Zyon and I jammed for many weeks, creating the foundation.” \u003c\/p\u003e\n\n\u003cp\u003eMax first envisioned Soulfly as a band with an evolving lineup, eager to “shake the tree” with an infusion of new creative blood from time to time. Many amazing players and guest musicians appear throughout the discography. Totem is the band’s fourth album with Zyon and second with bassist Mike Leon. It’s also the first Soulfly album without guitarist Marc Rizzo since 2004. \u003c\/p\u003e\n\n\u003cp\u003eLike every Soulfly album before it, Totem includes a dedication to God in the liner notes. And as ever, Max follows his spiritual muse into evolving and diverse territory, taking inspiration from multiple traditions and practices. Songs like “Superstition,” “Ancestors,” and the title track lean heavily into one of the album’s themes, which deals with nature as a spiritual force. \u003c\/p\u003e\n\n\u003cp\u003eEach Soulfly album boasts an instrumental, which Max lovingly likens to a “Planet Caravan moment,” the way Black Sabbath’s classic jam created something of a mellow album oasis. Totem is no exception. “Soulfly XII” indulges Max’s love of dark ‘80s goth guitar chords and synths. “I try to get creative with all of them; either with different instruments, like the saxophone on the Ritual instrumental, or I go by vibe. This one is really influenced by The Cure and Sisters Of Mercy.” \u003c\/p\u003e\n\n\u003cp\u003eOld school heaviness reminiscent of Sepultura’s Beneath the Remains era punctuates the environmentalist anthem “The Damage Done,” which concludes with a crushing decrease in tempo. “Scouring the Vile,” featuring a guest appearance from Obituary vocalist John Tardy, confronts cancer. “The sickening concealed behind my dying eyes \/ I ripped you from me.” \u003c\/p\u003e\n\n\u003cp\u003eRoughly 25 years since the band began, essential Soulfly bangers like \"Jumpdafuckup,\" \"Back to the Primitive,\" \"Downstroy,\" \"Eye for an Eye,” “Ritual,” and “Dead Behind the Eyes” are celebrated live just like Cavalera classics \"Roots Bloody Roots,\" \"Refuse \/ Resist,\" \"Territory,\" and \"Dead Embryonic Cells.\" Bursting with hunger and energy forged by more than three decades as a heavy metal force, Totem is a suitably brutal, vibrant, extreme, and uplifting entry into the Soulfly canon.\u003c\/p\u003e\n\n\u003cp\u003eSoulfly's savage anthems of aggression push extreme music to its bludgeoning limits while injecting it with brilliant moments of trippy nuance and dissonance. Like all innovative musical heroes, Max makes anthems for the people. Soulfly is a celebration of family and legacy. 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The same voice, body, and spirit which launched Soulfly in 1997 summons impossibly heavy noise to this day, throwing down ten slabs of monstrous music on Soulfly’s twelfth album, 2022’s Totem. \u003c\/p\u003e\n\n\u003cp\u003eProduced by Max alongside Arthur Rizk, whom Revolver described as “the secret weapon behind Power Trip, Code Orange, and Cavalera Conspiracy,” Totem attacks without apology. It brims with the blackened-thrash and death metal bite of modern Soulfly classics like Ritual (2018) and Archangel (2015), with nods to the heavy groove of Primitive (2000) and Prophecy (2004). \u003c\/p\u003e\n\n\u003cp\u003eAmong the most prolific musicians in the genre’s history, Max led Sepultura from Brazil to the world stage, making fans out of Ozzy Osbourne, Deftones, and Dave Grohl along the way. He cofounded Nailbomb, Cavalera Conspiracy, Go Ahead And Die, and Killer Be Killed, issuing album after album to spirited acclaim from critics and fans. 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A simple arrangement of four letters that has many associations: a trip to the seaside, a drug trip (and so a journey into the unknown), a trip is to suddenly fall. “The Soft Bounce” is a trip album in the widest sense: containing nearly 45 minutes of carefully programmed music, it sets off into to the unknown, it contains pleasure and pain, doubt and transcendence, and it ends somewhere that is different from where you started. \u003c\/p\u003e\n \n\u003cp\u003eBeginning with expansive synth washes and “Love To You Love Baby”-style oohs, “Delicious Light” is immediately uplifting: we’re off on a switchback journey that will pass from light through darkness and confusion and pain to transcendence and acceptance. Darkness of a sort is forged in explosive motion (“Iron Age”) before passing through sunshine pop (“Creation”), first wave UK psych (“Door To Tomorrow” with its invocation of Emily, beloved of both the Pink Floyd and the Piccadilly Line), and the blissful Balearic emotion of “Diagram Girl”.  This passes into the American Gothic of “Black Crow” - that traditional avian harbinger of doom - and then we’re down the rabbit hole.\u003c\/p\u003e\n \n\u003cp\u003e“Tomorrow, Forever” begins in the sound of nothingness and slowly unfolds into beatless cloud reveries that are at once solemn and hopeful. Weightless, blown with the wind, you come down to earth with the skipping afro beat of “The Soft Bounce”: a soft female voice pleads for connection, but she is almost swamped by the stinging, shocking guitar reverb. The positive moods of “Finally First” and “Triumph” put everything back together before the all-out acid assault of “Third Mynd”: from life to death to rebirth, ‘you throw the sticks up in the air, and they come down in a different pattern’.\u003c\/p\u003e\n \n\u003cp\u003eIs it the history of human kind or a personal, individual odyssey? With guest appearances from Blaine Harrison (Mystery Jets), Euros Childs (Gorky’s Zygotic Mynci), Jane Weaver, Holly Miranda and Hannah Peel, Erol Alkan and Richard Norris have constructed an album that is both highly enjoyable and on a deeper level, perceptual and psychological. Growth is necessary, as is adaptation to change: neither are achieved easily or without some kind of sacrifice. Operating on a level that can be verbal but is more often non-verbal, music can ease that passage.\u003cbr\u003e\nJon Savage, March 2016.\u003c\/p\u003e","brand":"Beyond The Wizards Sleeve","offers":[{"title":"Default Title","offer_id":45221039341848,"sku":"PHLP7X","price":36.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-63711.gif?v=1747086687"},{"product_id":"torpedo-limited-edition-red-vinyl-lp","title":"Torpedo: Limited Edition Red Vinyl LP","description":"\u003cp\u003eThe celebrated, multi-platinum-selling, rock band Feeder have hit a resurgent run of three consecutive UK Top 10 albums with 2016’s All Bright Electric, the 2017 Best Of, and 2019’s Tallulah. Looking ahead to 2022, it is with some momentum that the band will release new album Torpedo into the world.\u003c\/p\u003e  \n \n\u003cp\u003eMomentum has been something in short supply for many artists over the last 18 months. For Feeder, the ensuing numbness of early-stage lockdowns inevitably led to an uncharacteristically uninspired period for the band and songwriter Grant Nicholas. Feeder, however, have always been masters of marrying the light and the dark - illuminating the shadowy corners of their world to uncover something poignant and uplifting - meaning it was not long before conditions became a perfect storm for inspiration’s lightning to strike, and two albums’ worth of music materialised.\u003c\/p\u003e\n \n\u003cp\u003eTorpedo signals a band refreshed, inspired by the new and not resting on the strength of their considerable successes. Like so much of the band’s high points, Torpedo is a communal experience that considers the processes through which we deal with what’s in front of us. Musically it acts a connecting thread between all they’ve journeyed through to date, and all they can still become in the future.\u003c\/p\u003e\n \n\u003cp\u003eThe celebrated, multi-platinum-selling, rock band Feeder have hit a resurgent run of three consecutive UK Top 10 albums with 2016’s All Bright Electric, the 2017 Best Of, and 2019’s Tallulah. Looking ahead to 2022, it is with some momentum that the band will release new album Torpedo into the world.\u003c\/p\u003e\n \n\u003cp\u003eMomentum has been something in short supply for many artists over the last 18 months. For Feeder, the ensuing numbness of early-stage lockdowns inevitably led to an uncharacteristically uninspired period for the band and songwriter Grant Nicholas. Feeder, however, have always been masters of marrying the light and the dark - illuminating the shadowy corners of their world to uncover something poignant and uplifting - meaning it was not long before conditions became a perfect storm for inspiration’s lightning to strike, and two albums’ worth of music materialised.\u003c\/p\u003e\n \n\u003cp\u003eTorpedo signals a band refreshed, inspired by the new and not resting on the strength of their considerable successes. Like so much of the band’s high points, Torpedo is a communal experience that considers the processes through which we deal with what’s in front of us. Musically it acts a connecting thread between all they’ve journeyed through to date, and all they can still become in the future.\u003c\/p\u003e\n \n","brand":"Feeder","offers":[{"title":"Default Title","offer_id":45221180997912,"sku":"BTLP21A","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/4297\/9608\/files\/SharedImage-127190.jpg?v=1749164776"},{"product_id":"the-noble-art-of-self-destruction-limited-edition-squad-effect-white-mid-blue-gold-vinyl-lp","title":"The Noble Art Of Self Destruction: Limited Edition Squad Effect – White\/Mid-Blue\/Gold Vinyl LP","description":"\u003cp\u003eFrom the moment of our first breath to the very last gasp we take before we die, we never stop growing as people. Every trial and tribulation, every heartbreak, success and failure, every scar, blemish and wrinkle is another brushstroke illuminating our life’s unique canvas. As Holding Absence frontman Lucas Woodland sings on “The Angel in the Marble,” the closing track on his band’s outstanding third album The Noble Art of Self-Destruction, we are, each and every one of us, “a puzzle, a painting, a work of art in the making.”\u003c\/p\u003e\n\n\u003cp\u003eHolding Absence’s new album is a testament to how our life’s story is never fully told, with opportunities for change and growth found in every moment, from the depths of despair to the euphoria of our greatest loves. Whether adding flourishes of colour to an already picturesque painting, or chiselling away at the marble to reveal the beauty within, The Noble Art of Self-Destruction – the final act in a trilogy of records encompassing the first chapter of Holding Absence’s career – speaks to how we are each an unfinished work of art with new meanings and qualities waiting to be discovered.\u003c\/p\u003e\n\n\u003cp\u003eA record Lucas describes as a form of self-therapy that sees him more candid and comfortable with his emotions than ever before, The Noble Art of Self-Destruction brims with a level of energy, excitement and sheer weight of feeling that is unparalleled in contemporary alternative music. Whether Lucas and his bandmates – guitarist Scott Carey, bassist Ben Elliot and drummer Ash Green – are performing relatable anthems about imposter syndrome and self-loathing like massive singles “Crooked Melody” and “False Dawn,” gushing love ballads (“Honey Moon”) or existential reflections on suicide (“Death Nonetheless”), the four-piece’s approach on their new album is packed with the kind of vigour that saw Kerrang! label them as British rock’s “new leading light” and Loudwire proclaim the Cardiff natives to be “the UK’s most exciting new rock band.”\u003c\/p\u003e\n\n\u003cp\u003eRecorded at Canada’s Jukasa Studios with producer Dan Weller (Enter Shikari, Bury Tomorrow), The Noble Art of Self-Destruction builds further into the lore of Holding Absence that sets them apart from many of their contemporaries. Taking influence from a varied array of sources including Renaissance sculptor Michelangelo, sci-fi blockbuster Star Wars and the Japanese pottery art of Kintsugi, Holding Absence’s new LP speaks to the desire of Lucas and his bandmates to create a project that exists as so much more than just a band.\u003c\/p\u003e\n\n\u003cp\u003e“It’s really important to state that this record is the third part of a trilogy,” Lucas says. “The Noble Art of Self-Destruction is the final piece of a wider art project, with this record serving as a bit of a love letter to Holding Absence before we take the next step. 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Every trial and tribulation, every heartbreak, success and failure, every scar, blemish and wrinkle is another brushstroke illuminating our life’s unique canvas. As Holding Absence frontman Lucas Woodland sings on “The Angel in the Marble,” the closing track on his band’s outstanding third album The Noble Art of Self-Destruction, we are, each and every one of us, “a puzzle, a painting, a work of art in the making.”\u003c\/p\u003e\n\n\u003cp\u003eHolding Absence’s new album is a testament to how our life’s story is never fully told, with opportunities for change and growth found in every moment, from the depths of despair to the euphoria of our greatest loves. 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