Mal Roïn SPLIT Korrozão

Black metal iberico por parte de los Blackers Mal Roïn, black primitivo a lo Venom, sangre y visceras, a tutiplen.
Grindcorre que te pillo, desde Brasil, Korrozão. Bandaza, con mucha mala baba, letras politicas y sobretodo velocidad, mucha velocidad.


Mononoke -Aussicht​?​!



Vestiges/Ghaust Split 12

"Vestiges formed in January of 2010. Influenced by hardcore, black metal, crust, d-beat, screamo, and post-rock, the band set out to incorporate elements of each genre to articulate their message both musically and lyrically through a series of albums that follow a central narrative about the relationship between man and nature.

On October 10, 2010 the band released their debut full-length album and the first installment of their narrative,
The Descent Of Man
. The album was independently released by the band on a limited run of hand-numbered double vinyl, compact discs, and cassettes, which has afforded the band the opportunity to tour extensively across the United States and Canada. The Descent Of Man is currently distributed in North America, South America, Europe, Asia, and Australia through a number of independent record labels and distros.

The Descent Of Man follows the creation, the evolution, and the eventual annihilation of mankind. Today, we find ourselves hoping to reverse the damage that we have done and struggling to sustain what little earth we have yet to rape repeatedly. We validate this existence with stories that justify our behavior and our role in the natural world. The promise of salvation in a land we have yet to see has clouded our judgment in a land that is right before our eyes. Industrialization, militarization, overpopulation, theism, specieism, and nihilism are regarded as evolution and progress. Our greed and ignorance have been celebrated and our past has been forgotten. We were meant to be a part of nature. We were not meant to conquer nature. We were given life and we have done everything in our power to bring death upon everything in our pa
th, including ourselves. There will be horrifying consequences for what we have done.

On April 22, 2011 the band released VI, the next chapter of their narrative, on an extremely limited compact disc pressing with the plan to release a vinyl-only, remastered version of the song on a split vinyl with Ghaust (Indonesia) through three labels on three continents. The split was released on October 10, 2011, along with a 180gram pressing of
The Descent Of Man, in celebration of its first anniversary.

Cara Beth Satalino - The Good Ones

ing for "Every now and then I'll find a surprise package of records from Matt/No Idea waitme on my porch-This is how I was introduced to the Witches 7" and became a fan of Salinas Records. I eventually put on a show for the band and found out they were both great people and live band. Now a Witches CD/LP later, here I am getting to work with Cara Beth Satalino (Witches) and Marco/Salinas together on Cara's 2008 recording. It has been remixed, remastered, and comes to you with new artwork in 12" 45 form pressed on recycled mixed color vinyl. These are songs recorded before Witches, some of which would become band songs. Very stripped down but each song offers different dimensions with subtle changes in instrumentation. Now that both Witches and Cara are active I look forward to seeing what comes next.

The Makai - Embracing the Shroud of a Blackened Sky

A 1 song LP of epic metal, blackened crust, and doom infused ‘core. A package of equally epic proportions that includes a full color cover, a full color 24×36 poster, and 12 page booklet!

“The band blends thrash and extreme metal, Swedish-influenced melodic death, and a good bit of chaotic hardcore. The pace is relentless, and the songwriting solid.”


Emptyself – Nothing Follows, Nothing Stays

This is a collection of some of the music I made between 2007-2009 in New Zealand that has gone unreleased for a while. It is mostly slow, introspective, and often sad. It was made during years spent not really listening to any music, sitting alone in the bush or by the ocean, in a sort of private trance. Geologic time.

Ungoliant-No More The World of Man

5 epic tracks coming out to 45 minutes of doom laden psychedelic thunder made to split wide the mind of any mortal with the deranged taste of the unknown..classic!


Brut - Brut

Brut send us their latest album from Montreal, Canada. They plays dark, furious and metallic 34% Crust, 33% Hardcore and 33% Sludge. As my neighbour from Forever Cursed say, this is a grat sound track for the rage and impotence we fell in these days, police bastards, stupid people... today in my country is Election Day. For What?, for nothing, for business as usual, fucked politicans, least I have good soundtrack whit this album.


Wolves in the Throne Room - Celestial Lineage

It has been 8 years since Wolves in the Throne Room’s much mythologized genesis. Over the course of 3 studio albums and hundreds of live performances the band has slowly boiled away the prima materia of Black Metal to distill a unique essence.

The transmutation reaches a new level with the completion of Celestial Lineage the clans’ new Astral Black Metal document. In contrast to the bleakly hypnotic architecture of 2008’s Black Cascade, Celestial Lineage expands into a more expansive and visionary territory. Although it is obviously inspired by European Black Metal, Wolves in the Throne Room create music that is intensely local in it’s orientation. Certainly, Celestial Lineage is a manifestation of the northwestern landscape, but it also arises out of an underground West Coast tradition formed by successive generations of psychic crusaders: Theosophists, beatniks, the Grateful Dead, Neurosis, the back-to-the-land movement, satanic hippies, tree-spiking anarchist punks. The resulting music invokes a misty dream world. Rain drenched specters looming at the edge of the wood. Echoes from the Astral Plane. Ancient cedar deities robed in moss. A glimpse of a bronze-domed temple among the firs. Celestial Lineage was written and recorded over the course of the first six months of 2011.

The Weaver brothers worked with Producer/mystic Randall Dunn (Earth, Boris, SUNN 0))), Cave Singers, Bjork/Omar Souleyman), with whom the band has developed a close relationship since their first collaboration on 2007’s Two Hunters. 3 songs are bejeweled by Jessika Kenney’s liturgical choir and solo voice. Aaron Turner (ISIS) also contributes orations to the maelstrom.


Sarabante - “Remnants

Sarabante is a hardcore/crust band from Athens, Greece. “Remnants” is the bands debut release. The band was brought to the attention of Southern Lord by Brad Boatright of From Ashes Rise. This makes perfect sense as Sarabante has a similar burning intensity that can be heard from those legends. One of the primary focal points of the group is their consistent execution of infectious melodies. This cd is limited to 1,000 machine numbered copies. For fiends of: Tragedy, From Ashes Rise, Neurosis.

Xibalba - Madre Mia Gracias Por Los Dias

Xibalba from Southern California effectively fuse death metal influences like Sepultura and Obituary with more modern and 90’s hardcore as well a healthy dose of Crowbar! Xibalba’s downtuned, heavy as fuck music is a SEVERE force to reckoned with. The old world influence is only evident to the trained eye, but Xibalba gives nods not only to the hardcore bands they were raised on, but to the culture which spawned them. Xibalba not only know their roots, but make sure you won’t forget them either. The Madre Mia Por Los Dias cd contains not only the s/t debut album from Xibalba but also the material from the Earthquake comp cd.


ALPINIST are from Munster Germany, and produce crushingly dark hardcore/crust played with blinding intensity. The band is meant to be understood by those who are sick of following musical trends, those who want to live out music with dedication and those who believe in expressing their own ideals through their own art. Alpinists’ socio-political lyrics are openly and strongly against all forms of fascism, racism, sexism and homophobia. The disc contains both of the band’s albums that were previously only available on limited vinyl releases, making this the first ever CD release from ALPINIST.


COMITY † The Journey Is Over Now

Fear of musical routine. Will of pushing back boundaries with a classical rock instrumentation. Astounding violence executed in one of the most distinguished ways. Incredibly meticulous attention to detail. With so much selection criteria, very few could pull this all off whilst harnessing a consistent sound. And if there’s one band that has always sweat blood and water to access there in the midst of bands like Starkweather, Breach, Today Is The Day, Neurosis, Oxbow and Converge, then it’s without a doubt COMITY. A more than deserved sacrament after fifteen years of a spanner thrown in the works, between disillusions, line-up & record label issues amongst many other aborted plans - going as far as making them momentarily give up in 2007. COMITY have behind them fifteen years of noise and incredible live performances (with The Dillinger Escape Plan, Converge, Cave In, Today Is The Day…) not to mention a discography with a fascinating progression which propel the band to the rank of one of France’s biggest glories at the release of their second album “As Everything Is A Tragedy” in 2006.


1. Ruin it All (hd MP3)
2. Doomsayer & Friends
3. Some more Pills
4. Once was a Warrior (fan my flame and I'll still be one)
1. Gruesome Tale (hd MP3)
2. Small Fires
3. Lifeless Down on the Floor

Recorded by Laurent Saussol at Studio Palissy in July 2011.
Mixed by Andrew Schneider at Translator Audio.
Mastered by Nick Zampiello and Rob Gonnella at New Alliance East.
Once was a Warrior lyrics and growls by Xavier Theret.

Recorded, and mixed by Yann Morel, Sébastien Déscamps at Studio Cube in July 2011.
Mastered by Nick Zampiello and Rob Gonnella at New Alliance East.

Read more:http://vinylcollective.proboards.com/index.cgi?board=general&action=display&thread=69952#ixzz1dEjvsMAB


Big Sexy Noise - Trust The Witch

Jusqu’ici je n’ai guère été charitable avec Lydia Lunch et son groupe Big Sexy Noise. Leur premier album sans titre me semble aujourd’hui toujours aussi bancal, pauvre parfois et sans grand intérêt sur les trois quarts de ses titres. Un vrai pétard mouillé. Le Son Du Maquis a choisi de publier Trust The Witch (« fais confiance à la sorcière »), le tout nouvel album de Big Sexy Noise non sans avoir entretemps réédité, comme il convenait de le faire, 13 13, le chef d’œuvre absolu de Lydia Lunch. L’appréhension refait naturellement surface mais l’envie d’écouter également. Alors allons-y.
Première constatation : le line-up de Big Sexy Noise est toujours le même, à savoir Lydia Lunch au chant et aux textes, James Johnston à la guitare, Terry Edwards à l’orgue et au saxophone ainsi que Ian White à la batterie. Et on pense toujours que les trois musiciens de Gallon Drunk sont bien ce qui peut convenir de mieux comme backing band à Lydia Lunch à l’heure actuelle. Toutes les compositions sont signées Lunch/Johnston – alors que sur le premier album il y avait des reprises pas toujours très heureuses (Lynyrd Skynyrd !) – et, effectivement, le niveau général de Trust The Witch s’en ressent automatiquement, de même qu’un sentiment d’unicité certain. Trust The Witch se révèle rapidement quelque peu supérieur à tout ce que Big Sexy Noise a pu enregistrer jusqu’ici, ce qui n’était pas bien dur au départ, on ne peut donc pas dire cela constitue un exploit.

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