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Reissue of the classic fourth album from the US Heavy Metal band CHASTAIN!
The name CHASTAIN should be no stranger to those who grew up in the 1980s and lurked in dark record stores. CHASTAIN itself was the full band of shredder guitarist David T. Chastain, but preceded his solo recordings by a few years. Both CHASTAIN the band and man were allied with the pivotal Shrapnel Records label, who launched the careers of many US power metal bands as well as, most especially, shredder guitarists.
While CHASTAIN’s first two albums – 1985's Mystery of Illusion and 1986’s Rulers of the Wasteland, both originally released by Shrapnel - became staples of the burgeoning US power metal scene, the band would release their third album, 1987’s The 7th of Never, on Leviathan Records, the label Chastain himself started a few years before. In 1988, Leviathan released The Voice of the Cult, widely considered to be CHASTAIN’s strongest record of the ‘80s, if not their still-enduring career. While no great changes were made, The Voice of the Cult nevertheless exploded with a power, poignancy, and poise that cemented CHASTAIN’s position as tried-and-true HEAVY METAL: speed metal, power metal, classic metal, some shred, even a touch of "hair" – all are covered here, and seamlessly threaded together into an electrifying 38 minutes. Of course, much of CHASTAIN’s early legendry lies at the feet of OG frontwoman Leather Leone, whose tough-yet-clear vocals are perhaps THE embodiment of heavy metal eternal. Graced with another quintessentially ‘80s cover art and The Voice of the Cult became mandatory listening for disciples of metal’s golden era.
CD includes two bonus tracks.

Third album from the US Death Metal band!
Since forming in 2010, CHURCH OF DISGUST have been spreading sickness throughout the underground. Made up of lead guitarist Joshua Bokemeyer, drummer Dwane Allen, bassist Travis Andrews, and guitarist/vocalist Dustin James, CHURCH OF DISGUST unleashed two demo tapes before releasing their debut full-length, Unworldly Summoning, in 2014 via Spain's Memento Mori Records. The next year saw the release of the Dread Ritual EP on Headsplit Records (tape) and Craneo Negro Records (Mexico). In 2016, the band released Veneration of Filth ( in multiple formats via Memento Mori Records, Headsplit Records, and later Maggot Stomp/Sunken Tomb Records), which quickly began making waves in the underground. In the years to follow, the band focused on touring more and making some memorable festival appearances before releasing the Consumed by Slow Putrefaction EP on Maggot Stomp Records in 2020. These three hymns of crushing swamp sickness proved them to be heavier and with more refined songwriting, ignoring trends and staying true to their vision of death metal the way it was meant to be played.
these Gulf Coast death metal fiends deliver their catchiest and most crushing record yet with Weakest is the Flesh. The formula is almost deceptively simple: immediately memorable songwriting that doesn't insult the listener's intelligence with over-simplicity nor try to impress with needless technicality, and delivered with impassioned execution and clear-yet-powerful production. It's "old school" only in the sense of honoring the power of THE RIFF (as well as well-timed divebombing solos!) and otherwise doesn't pander to the usual retro-posturing cliches. As such, CHURCH OF DISGUST here variously nod to classic CIANIDE, Gorefest, Cancer, Pentacle, Opprobrium,
Featuring eight tracks of ungodly heaviness and the most efficient songwriting around (and a haunting interlude and outro), Weakest is the Flesh is undoubtedly CHURCH OF DIGUST's strongest statement to date. DEATH METAL OR DIE!!!

Since 2018, Arizona's FLUIDS have been prolifically polluting the underground with their remorselessly disgusting brand of goregrind. The band's debut album, Exploitative Practices, came in 2019, followed by a golden shower of short-lengths (mostly) compiled on Fluids of Death.
Continuing that campaign of bad taste, FLUIDS now releases Fluids of Death 2, which compiles FLUIDS' splits following the release of Not Dark Yet. Here, the band's splits with Oxidised Razor, Putrid Stu, and now-labelmates PHARMICIST are presented together as one 14-song/34-minute statement of depravity. As knuckle-dragging and ignorant as ever, FLUIDS’ intensely foul 'n' filthy sound still manages to surprise in the extremist lengths they go to assault the listener with sensory overload, which they've recently taken to its apotheosis with the Until It Shines remix EP. Here, however, is pure and total FLUIDS: slimy, speculum-spreading, all-caps GOREGRIND in the grand, drum-programmed 'n' fuzz-toned tradition of godfathers MORTICIAN. No more but definitely no less, Fluids of Death 2 is mandatory listening for gorefiends, and especially for those into the new breed of old-style goregrind - flush or be flushed!

The first (and final) album from Finland's GRIEVE.
It was but 2020 when GRIEVE emerged from the darkness with their self-titled debut EP. Although otherwise meant to exist strictly in that darkness, it was soon discerned that the band included veritable Finnish black metal royalty within its ranks. Nevertheless, the swiftly uncompromising nature of Grieve was felt: Northern Black Metal Exclusively From the 1990s. No more, no less, no progression, no fun.
The same banner is upheld on Funeral, GRIEVE's highly anticipated debut album. Aptly titled, Funeral is also the band's final recording, and a more fitting epitaph one will not find. Recorded in Hell during the diabolical summer of 2021, GRIEVE's first full-length is a fiercely focused one, solely featuring funereal marches by V-Khaoz and last rites by Werwolf. Beyond cold, utterly grim, violent and restrained simultaneously, Funeral is a record out of time, one where the last couple decades of "black metal" never existed. In fact, it's not inaccurate to say that GRIEVE's final strike could've been released by Malicious Records back in the mid '90s, so authentic and impassioned is this vintage obsidian. Suitably for the occasion, mastering was done at Trollhouse Audio, giving Funeral that extra gleam of deathly pallor.
From here on, GRIEVE does not exist anymore. Gather for their Funeral, or just walk on by.

Reissue of the Australian Black / Death Metal bands striking debut album!
Hailing from the ever-fertile Australian black metal underground, LAMENT IN WINTER'S NIGHT is the work of one The Seer, who has a vast array of other projects lurking in his cobwebbed soul. Of them, LAMENT IN WINTER'S NIGHT is the most prominent and prolific and, since the beginning of 2019, has seen feverish activity from The Seer, culminating in the debut album At the Gates of the Eternal Storm in 2020.
Originally released by Dark Adversary label, At the Gates of the Eternal Storm is a grand and grim summation of the noble LAMENT IN WINTER'S NIGHT aesthetic thus far. Scurrying and scrying, The Seer's attack here is hideous yet human, betraying a wounded-soul sensibility that explodes to the fore from his achingly sad riffing. From the nearly bass-less recording to his ghoulish echoes into the abyss, LAMENT IN WINTER'S NIGHT create a unique disconnect here - strangely ethereal on one hand, vicious and violent on the other, with elements deployed in perversely inverse manners - but it bears underlining that this is all done in the name of proud 'n' pure BLACK METAL. At the Gates of the Eternal Storm is nothing if not a black metal record could've hailed from the darkest recesses of the '90s.

The long-awaited fourth album of Ohio's long running Black Death Metalers MANTICORE!
a MANTICORE album is always a momentous event, and especially more so for the forthcoming Endless Scourge of Torment - the band's first full-length in ten interminably long years. Indeed, while they did release a split 7" with the aforementioned Kill last year, MANTICORE here sound filthier and more refreshed than ever, their pulsing 'n' pustulent sound sharper than ever. And therein lies the magic of MANTICORE in general and Endless Scourge of Torment in particular: for such a gnarly 'n' gnawing sound, one inherently drowned deep in the primordial muck, the trio evince a startling clarity, which only serves to make their ever-sturdy songwriting that much stronger. To that, MANTICORE's songwriting here efficiently straddles the line between bursts of angular bestiality and slow 'n' swirling doom, the latter perhaps strangely crystalized by a surprise cover of Twisted Sister's "Captain Howdy." Elsewhere, Markus Kolar (ex-Kommandant, Forest of Impaled, Sarcophagus etc) provides the album's intro and subtle orchestration on various songs, and it's all topped off by nightmarishly detailed cover art courtesy of NetherTemple Design and interior art for each song by Dahmer Art.

Previously released in the spring of 2020 but only on vinyl, this split collects MORKETIDA's Traveler of the Untouched Voids EP and GRIEVE's debut self-titled EP onto CD format for the first time ever. Leading off is Traveler of the Untouched Voids, which sees MORKETIDA travel further down their own, ever-more-idiosyncratic path. Still largely downtempo but unafraid to kick into hypnotic blasting, here do they explore swampier and more eldritch terrain, heightening the beyond-the-shade atmosphere ever more through patient, plaintive melodies and more rugged expressions thereof. The organ of yore has been replaced by occasional touches of mystical synth in a most early '90s manner, while the vocals similarly plumb stouter depths. If anything, one could say that MORKETIDA are nodding more toward an ancient Eastern European expression or one less-than-tangentially removed from the contemporaneous Hellenic scene. GRIEVE’s self-titled debut EP follows. Despite its release in 2020, one could easily mistake GRIEVE's swift two-song salvo as some lost recording from the mid/late '90s, so authentic and unshakable is its swelling, mystical surge. As such, Grieve is not short on nightsky melodicism nor is it unafraid to lace those wandering-soul ruminations with subtle touches of synth. Altogether, it's a simple first statement from GRIEVE, but one nonetheless profound: the past is alive!
Now brought together onto vintage CD format, both MORKETIDA's Traveler of the Untouched Voids EP and GRIEVE's Grieve breathe new life, making for a fully satisfying 30 minutes of elite Finnish black metal!

Long-awaited fifth studio album from the legendary US Devil Death Metal band NUNSLAUGHTER!
Since 1987, these Ohio natives have prolifically perfected their own brand of Devil Metal: an evil blend of classic death metal and hardcore punk. And by "prolifically," NUNSLAUGHTER are likewise serious; their catalog of records released rivals that of Japan's Sabbat and Agathocles, both of whom the band have done splits with.
And while NUNSLAUGHTER are largely renown for being an EP band, any chance to welcome a new full-length from them is cause for (devil metallish) celebration: at long last, Red is the Color of Ripping Death, the band's first album in seven years. Many are still mourning the loss of legendary drummer Jim Sadist (RIP), and while Red is the Color of Ripping Death is their first full-length without him playing on it, some of the 14 songs contained herein are unfinished / unrealized music that Jim and founding frontman Don of the Dead wrote years ago. Just as importantly, this album comprises material newly written with NUNSLAUGHTER's current lineup, which is arguably the band's best to date. And hearing is believing: over the course of the album's 35 minutes, it becomes immediately apparent that NUNSLAUGHTER are a really good - and really ripping - DEATH METAL band above all.

A special full-length from US Black Death Metal act PERDITION TEMPLE.
As the world plummets further into chaos, PERDITION TEMPLE recorded a special full-length, Merciless Upheaval. Comprising four new songs and four covers for a total of 34 fiery minutes, Merciless Upheaval is indeed aptly titled and serves as a fitting, equally feverish counterpart to Sacraments of Descension. Much of that is down to the same lineup being in place, as iron-fisted as ever as they effortlessly unleash cyclones of classic death metal. Each member delivers a masterclass here, much as they did on the record's predecessor; their crush is chaotic and controlled simultaneously, their precision betraying no small amount of power. Of the four covers, we're treated to PERDITION TEMPLE'd renditions of Infernal Majesty, Pestilence, Mexico's Shub Niggurath, and of course Morbid Angel, making for an album-length experience which handily straddles past, present, and future. PERDITION TEMPLE thankfully continue to keep their irons in the fire, so plunge into Merciless Upheaval post-haste!

Second album of American Death Thrash band PERVERSION.
An utterly ultraviolent assault on the senses. Swirling malevolently in a cauldron brewed from the darkest depths of old Brazilian proto-death, earliest German thrash, bestial detonations at the dawn of the '90s, and even '80s grindcore, PERVERSION proceed to lay waste across the album's seven central tracks, plus ominous intro and an album-closing cover of Bathory's "Possessed."