This Weeks New Releases – Sept 29th


We have lots of awesome new releases that arrived this week.  Too many to list them all, but here are several that we’re real excited about:


SATANIC WARMASTER – We Are The Worms That Crawl On The Broken Wings Of An Angel LPx2
Comes in a gatefold cover.  WEREWOLF RECORDS, in conspiracy with HELLS HEADBANGERS, is proud to present a special compilation from the infamous SATANIC WARMASTER: We Are The Worms That Crawl On The Broken Wings Of An Angel. Parenthetically titled A Compendium of Past Crimes, We Are The Worms That Crawl On The Broken Wings Of An Angel compiles the prolific Finnish black metal legends’ tracks from myriad split releases, and shall be presented on jewel-case CD, A5 digipak, and double-LP vinyl formats.  By now, SATANIC WARMASTER need no introduction. For nearly 20 years now, mainman Werwolf has come to shape and define Finnish black metal in the new millennium. Although each of his five full-lengths mark a distinct moment in time – and each time, simultaneously solidifying the paradigm of pure underground black metal, both in Finland and abroad – it is SATANIC WARMASTER’s seemingly countless split releases that have kept up the spiritual warfare so crucial to his undying, unyielding aesthetic. As such, the burning times of the early-to-mid 2000s are well and truly represented on We Are The Worms That Crawl On The Broken Wings Of An Angel, encompassing a near-exhaustive totality of 16 tracks across 76 grim ‘n’ miserable minutes. From trance-inducing fury to anthemic death-march to nostalgic melancholy for a lost age, We Are The Worms That Crawl On The Broken Wings Of An Angel is an endlessly compelling time-capsule, crucial for both diehards of the band as well as those who prize black metal purity.  (Hells Headbangers/Werewolf Records #44)


DS 13 – Umea Hardcore Forever, Forever Umea Hardcore LPx2
This release compiles all of DS 13’s 7”, split and comp tracks. Total of 67 tracks remastered for this release. DS 13 formed in 1997 with the goal of shaking up the hardcore scene in their part of Sweden by playing fast and aggressive hardcore. In an era dominated by emo, pop punk and mosh metal they found many people were hungry for a return to basic hardcore sounds of the 80’s and their 7”s attracted a lot of attention around the world. What followed was a rapid string of releases spread over several labels, followed by two LPs. This record gathers all those recordings into one deluxe double LP package. Features Color vinyl, color gatefold, color inner sleeve with liner notes and lyrics. DS 13 helped kick off the “Y2K Thrash” movement, a time that many remember as an age of high energy,  fast hardcore, unity and good times. Thrash lifestyle may be out of style today, but the music and energy can’t be held back.  (Havoc Records #1252)


ACEPHALIX – Decreation LP

The rotten corpse of Acephalix, the Bay Area’s beast of barbarism, has been re-animated. Abnormally deceased since the band’s Southern Lord debut Deathless Master, the crushing return of Decreation leaves no bone unbroken and no skull intact. Foul American death metal maggotry eating back to life coagulated remains of hardcore’s guts. Opener “Upon This Altar” rages with d-beat ferocity morphing into a slithering puzzle of pierced flesh. Primitive savagery pervades on “Suffer (Life In Fragments)” through to the cro-magnon battering of “Excremental Offerings.” All the while an obscure weirdness that characterizes the idiosyncratic deformities of certain Cannibal Corpse, Nocturnus and Death moments arises out of the Acephalix tomb. With each release the band’s horde grows more intense, vicious and bestial. This album is the culmination of five years of dormancy, letting loose upon the Earth the calamitous consequence of pent up wrath.


DECEASED – Fearless Undead Machines LPx2
HELLS HEADBANGERS is proud to present, once again, DECEASED classic Fearless Undead Machines on double-LP vinyl. Originally released in 1997 by Relapse Records and on double-LP vinyl by HELLS HEADBANGERS in 2004, Fearless Undead Machines was a pivotal album in the deep ‘n’ distinctive DECEASED discography. Prior to its release, the band was in a state of transition, going from the dizzyingly technical ‘n’ chaotic The Blueprints for Madness in ’95 and wanting a more stripped-down, streamlined approach. What resulted was a massive monolith of epic HEAVY METAL songwriting suffused with the spirit of their earlier, thrashing death metal ways…and hooks/hooks/hooks for miles! Despite its hefty, 68-minute length, the album was immediate – and immediately memorable. And while vocalist/drummer King Fowley always had a unique flair for horror-based lyrics, on Fearless Undead Machines, his lyricism took on a now-characteristic storytelling aspect, making each of these 11 epics truly a world in itself. Once again, HELLS HEADBANGERS brings back a classic from the dead – Fearless Undead Machines!  (Hells Headbangers Records DLP #1)


PRIMUS – Desaturating Seven LP

This is the first studio album of original material since 1995’s Tales From The Punchbowl with the classic PRIMUS line-up of LES CLAYPOOL (vocals, bass), LARRY LALONDE (guitar) and TIM ALEXANDER (drums). The Desaturating Seven is inspired by a 1970s children’s book Claypool often read to his kids when they were growing up. The book tells a story of seven goblins—one representing each color of the rainbow—who simultaneously pull all of the color out of the world. “Many years ago when my children were little kidlets scurrying around the place wreaking havoc and whatnot till it was time for bed and book time, my wife turned them on to a book called The Rainbow Goblins by Ul De Rico,” Claypool explained. “The dark imagery and beauty of the art struck me immediately and I thought, ‘this would make good fodder for a piece of music.’ The use of color and darkness both in the paintings and the writing was compelling and now, near two decades later, the metaphor of greed, gluttony and deceit vs. unity of the masses is eerily relevant. I brought the notion to the Primus guys and they were all for it. Plus, I figured it’s about time someone brought ‘Goblin Rock’ back to the fold.” Pressed on rainbow splatter white vinyl.


EFFECTS – Eyes to the Light LP

Formed in Washington, D.C. in January of 2014, the EFFECTS are DEVIN OCAMPO, MATTHEW DOWLING and DAVID RICH. A multi-instrumentalist, Ocampo is a former member of the bands FARAQUET, MEDICATIONS, SMART WENT CRAZY and DEATHFIX, all of whom released music on Dischord. He has also toured and recorded with Mary Timony, Beauty Pill, and J. Robbins. Dowling was the bassist and co-leader of DELETED SCENES, while Rich was the drummer in the instrumental group, BUILDINGS. Both released music on the experimental-minded (and now defunct) local record label, Sockets. Devin met both Matt and David years before and while there had been talk of a possible collaboration everyone had their own projects at the time. However, by 2014 all were between bands and it finally made sense to get together and start something new. For the trio, playing together was a nice change in routine. It was a new configuration of musicians, rather than a recombination of old friends and former bandmates, which happens regularly in the close-knit music scene of Washington D.C. Matt and David offered a fresh perspective and (possibly) gave the Devin a nudge out of his comfort zone. Since then, the Effectshave performed sporadically throughout the East Coast and digitally released four two-song singles.


KID CONGO AND THE PINK – Spider Baby 7in

ITR are proud to announce the first in what we hope will be an ongoing series of seven inch records celebrating the only holiday that matters. Kid Congo kicks the series off in grand style tackling the theme song to the movie Spider Baby (originally sung by Lon Chaney Jr) and a very creepy instrumental. Pressed on beautiful black and orange splatter vinyl, housed in a ghoulish sleeve designed by Igor and pressed in an edition of 666.



“It was early 2008, THE WEDDING PRESENTt had recently finished a twentieth anniversary tour for George Best and, having played the entire album dozens of times, it was fresh under their fingers. So after they had wrapped up recording the El Rey album, DAVID suggested they record a ‘live’ version of it in the same studio. STEVE ALBINI, who they were recording with, wasn’t too keen on the idea, but David assured him it would be quick and easy, so he reluctantly caved. David was right; it was quick, done live, more like a Beatles recording than a drawn out modern one with lots of overdubs and multi-track layering. I imagine this version of George Best is what David would have liked to record in 1987. It is just so well recorded, which you’d expect from Steve Albini. You can feel David’s 20 years older self guiding the new recording in the same direction, but with more experience and warmth. Everything is bigger… the drums on the original recording were played live, but on a Simmons electronic drum kit. The combination of Albini’s recording and the ultra-talented GRAEME RAMSAY on drums brings the songs to life. However, the real difference comes out in the recording of those ever fast, ever jangly guitars… they’re warmer, bigger and more modern, more… Albini! Just to round everything off with a contemporary twist, award-winning mixer/producer ANDREW SCHEPS happily agreed to mix these recordings, having heard the original for the first time in his living room in Los Angeles in 2012, when he was mixing The Wedding Present’s eighth studio album, Valentina.” Edition of 1,000 copies.


SEVERED HEADS – Come Visit the Big Bigot LP

Dark Entries is proud to present the deluxe 2xLP reissue of ‘Come Visit The Big Bigot’ by Severed Heads, oone of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. After many line-up changes featuring Garry Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads was the vehicle for composer Tom Ellard.  

‘Come Visit The Big Bigot’ was Severed Heads’ first record to be released commercially simultaneously in Australia, North America and Europe in 1986. It was a prime period for this ‘industrial dance music’ and Bigot was a respected album that did well from the tour they did with Skinny Puppy that same year. Quite a few people still define the band by this period. ‘Come Visit The Big Bigot’ was made on a Fostex 16 track recorder in Tom’s bedroom, employing the newly acquired AKAI S612 sampler and Roland SH-101 to create most of the drum sounds. The album signaled a new direction, flirting with the dance floor and the pop song. Presenting the Heads at their most cohesive, while retaining their distinctive musical stamp. Tom’s vocals are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine rolls, sampled guitars, horn sections, and voices but with a subversive rather than malevolent intention. Tape loops are more subtle and define their own space and texture. Like the original Australian version of the album, we’ve included a bonus disc featuring three extended remixes by Sydney DJ Robert Racic (who produced the edited 7” version of “Petrol” we reissued in 2015), plus three B-sides from the ‘Twenty Deadly Diseases’12” and two additional tracks from the same recording sessions.