Relapse 黑胶唱片和CD

Review: Over three decades into their well storied career, Japanese post/noise-rock auteurs, Boris, return with the latest addition to their 'Heavy Rocks' saga. Running the spectrum of dynamic ground the band have covered throughout their tenure, this latest project explores both the most ferocious and serene material the stoner-doomers have ever tempered with. From the bombastic, fuzzed out opener, 'She Is Burning', to more industrial tinged fair, such as the unsettling, 'Ghostly Imagination', these ten pieces coagulate to paint a sonic tapestry of one of the most innovate, stone cold heavy rock acts to ever grace our speakers. When you need expansive, multi-faceted noise-rock to keep you endlessly guessing, send no substitutes for Boris.

Review: The mid-90s were a time of immense change for the death metal scene, strongly linked to the endless progression of the genre's most vital pioneers Death, who in retrospect, appeared to be reshaping, retooling and expanding the genre for their current and future peers in real time. Having already switched out the lyrical gore obsessions of their early material for the socio-political ponderings of 1990's Spiritual Healing, before turning to more opaque, introspective ruminations on their superbly technical, progressive death metal opus Human in 1991, a two-year gap would occur (a lengthy creative respite in terms of their prolificacy) before the arrival of 1993's Individual Thought Patterns. During this time, metal drumming legend Gene Hoglan (Testament, Fear Factory) would enter the mix along with King Diamond guitarist Andy LaRocque, and this newly refurbished line up would continue to build upon the virtuosic hyper-technical prog-death blueprint of Human, but with a major increase of oppressive, metallic menace, leading many to consider the work to be Death's most mercurial balance of artistic complexity and vicious heaviness.

Review: Following on from 1988's seminal sophomore triumph Leprosy, pioneering death metal forefathers Death entered into the 90s with a work that would shift perception on, not only their own project, but the entire genre as an entity. Released in 1990, Spiritual Healing marked a notable embracing of more melodious compositions, largely due to the presence of lead guitarist James Murphy, with this LP being his only contribution to the band's discography, along with bassist Terry Butler. Coinciding with the simultaneous maximisation of technicality and melody, the album would also shift the lyrical approach of primary songwriter Chuck Schuldiner, who began moving away from gore and viscera-soaked tales and focusing more on the real-world horrors of drug addiction, poverty, serial killers, organised religion and corrupt faith healers, just like the one that adorns the iconic artwork.

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Review: Deliverance Of Horrific Prophecies, Onward to Golgotha, Mortal Throne of Nazarene, Entrapment of Evil. New York metal pushers Incantation know how to pick titles for records, with so many references to occult fantasies it almost leave Diabolical Conquest reading a little limp. Not in terms of sound, though.

Released in 1998 after a number of changes to the team sheet, the record stands as one of the group's all time best in terms of musicality, instrumentation and undulating power. Having already carved a blood-stained place for themselves as proponents of a thrashing style somewhere between the slow march of doom and the frantic speed of death metal, for many this is where they really mastered that dark art - confidence coursing through every moment, from moody chugs to runaway freight trains.

Review: Iron Monkey are loved by fans for pulling no punches and now the popular UK metal outfit is back with a much anticipated new album that delivers their sound with full and unrelenting force. Spleen and Goad comes with a suitably dark cover on aqua blue vinyl and features some of the group's most gritty work in their 25 year career, which means they will retain their titles as kings of the "doom sludge vanguard." All of the nice cuts are powerhouses with mad heavy riffs on the opener 'Concrete Shock' signalling what to come and there is no let up from there with fuzzed out guitars, pounding drums and gutters snarls and vocal barks.