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athetos · 4 months

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Not going to do an official ranked list, but here are my favorite albums, EP/reiusses, and singles of 2023 thus far. I have a significant backlog I have to get through still, so I’ll update it in a month or so once I’ve torn through everything. Genres in parentheses.

Albums:

Panopticon - the rime of memory (atmospheric black metal)

Hot mulligan - why would I watch? (Emo)

Silent planet - superbloom (metalcore)

Anita velveeta - i saw the devil in Portland Oregon (emo)

Citizen - calling the dogs (alternative rock)

Beartooth - the surface (metalcore)

Creeper - sanguivore (rock)

Pvris - evergreen (alternative rock)

Sleep token - take me back to Eden (progressive metal)

Free throw - lessons that we swear to keep (emo)

EPs/Reissues:

The callous daoboys - god smiles upon the callous daoboys (Mathcore)

Portrayal of guilt - Devil music (black metal/screamo)

Pinkshift - suraksha (punk)

Deafheaven - sunbather remastered (blackgaze)

Blood incantation - luminescent bridge (death metal)

Better lovers - god made me an animal (hardcore)

Singles (either from albums that didn’t make the cut, or albums that aren’t out yet)

Glass Beach - CIA (post-emo)

Laura Jane Grace - dysphoria hoodie (folk punk)

Trash Boat - Liar Liar (metalcore)

Save Face feat. The callous daoboys - favorite lullaby (post-hardcore)

Ben Quad - would you tell Picasso to sell his guitars? (Emo)

Blink-182 - anthem part 3 (pop punk)

The menzingers - hope is a dangerous little thing (cowpunk)

Tigers Jaw, Joyce Manor - constant headache (emo)

Rivers of Nihil - hellbirds (technical death metal)

Mannequin Pussy - I Don’t Know You (alternative rock)

The wonder years - goddamnitall (pop punk)

Jessie ware - pearls (r&b)

Brutus - love won’t hide the ugliness (post-hardcore)

The story so far - big blind (pop punk)

Itoki Hana, Toby Fox - the greatest living show (rock)

Bayside, ice nine kills - how to ruin everything (patience) (punk)

Sum 41 - rise up (punk)

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All in all, I think my favorite EPs of all time came out this year, but there were some disappointments from big bands album-wise (taking back Sunday, the used).

My most anticipated for next year are albums from laura jane grace, glass beach, mannequin pussy, deftones, Ben quad, casey, and sum 41. Also ngl am insanely curious to see how job for a cowboy’s new album shapes up.

#ash.mp3 #I have like a dozen screamo and hardcore albums I haven’t got into yet

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chopper-witch · 2 years

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I love you OG punk rock. I love you punkabilly. I love you chicano punk. I love you anarcho punk. I love you cowpunk. I love you afro punk. I love you art punk. I love you hardcore punk. I love you crust punk. I love you horror punk. I love you glam punk. I love you peace punk. I love you deathrock. I love you electropunk. I love you skate punk. I love you street punk. I love you Oi!. I love you garage punk. I love you queercore.

I hate you christian punk 💖.

#punk #punk rock #punk genre #punk subgenre #punk music #punk memes #im not listing all the punk types im lazy 💖

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san--jose--sharpedos · 1 year

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2023 is the year i get into cowpunk, hardcore punk, and alt-country apparently

#i mean cowpunk and alt coutry were kinda inevitable with my love of folk

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mywifeleftme · 9 months

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94: Witches Valley // Extreme Return to the Source

Extreme Return to the Source Witches Valley 1990, Auto da fé

Per the hype sheet French distributor Plus Au Sud sent out with review copies of Extreme Return to the Source, this is Witches Valley’s deal (typos retained for verisimilitude):

“WITCHES VALLEY started end of 86 when five young people originating from Louisiane, fed by american pioneer culture and the spirit of the sixtees (mods, garage punk, bad taste or experimental cinema).

With its original line-up (a singer, a guitar player, a choir member and bass girl player, an organ girl player and a drummer), the band succeeds in making a symbiosis between country, hardcore, surf, noisy, and psyche.

On stage WITCHES VALLEY turns its shows into real tribal performances with such of stage as truss of straws and hanged stooges while experimental movies are screened. The five get out of control in a quasi erotic corporal ritual.”

The release then lists a bunch of bands they played with (notably Nomeansno, Vandals, and Lords of the New Church, compares the band to Sonic Youth and the Butthole Surfers, and notes that they “sing about spatial conquest, ancestral stories, river and mountains, murders, Mother Nature… with frenzy.”

So that, in its effusive indie press release-y way, prepares you pretty well for what you can expect from this psychotic French cowpunk (cowcore?) record.

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The ‘90s were full of trash culture-obsessed what-the-fuck bands, but Witches Valley were on the bleeding edge when you consider this dropped within a year of Nomeansno’s Wrong, the same year as Primus’ debut, and a year prior to Mr. Bungle’s. At times they sound like each of those bands, or like Yakko from Animaniacs put together a punk band, or even like Deerhoof (when the “bass girl player” is singing anyway), but they also very much have their own style.

Actually, you know what, this review is turning into a comparison fest, so let me just lean into it a minute and get it out of my system:

B-52’s Nomeansno Butthole Surfers Pixies Devo Los Campesinos! (?!) Primus Mr. Bungle Deerhoof Thought Industry Frank Zappa Meat Puppets Bad Brains The Refreshments (King of the Hill theme only) Dead Milkmen Red Hot Chili Peppers Beastie Boys The Gun Club Dirty Milk X Jane’s Addiction Quintron Dead Kennedys

Okay, I feel better! Helluva mood board. So like I said, despite being reminiscent of so many bands, they don’t sound derivative of them per se—all those resonances have more to do with the band changing the channel so fucking often that every song zips through like nine different genres in two to three minutes. They sweeten their bulldozing riffs and hyperactive tempo changes with vintage organ lines, psychobilly drumming, and rubber-faced cartoon vocals. If you’re not immediately put off by the sheer zaniness of it all, your best choice is to simply grab onto the rope and let their speedboat haul you through the interdimensional gator swamp they occupy. It took me some time to warm up to it--any newer LP in my collection while I take on a project that forces me to grind through records at a cracky pace is in for tough sledding, but Witches Valley won me over! The surfy “Idiot James” is an absolute blast, and I would happily mosh myself into a lather if given the chance to catch “The Ride On” at my local DIY.

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I really feel like this one is a lost gem for people on this particular weirdo rock tip, and it’s a pretty cheap pickup based on current Discogs prices. I’m glad its spectacularly dumb back cover gave me pause at the shop, and happy to share it with my follower(s).

94/365

#'90s music #french punk #french music #witches valley #punk #animaniacscore #music review #vinyl records

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luuurien · 2 years

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IV and the Strange Band - Southern Circus

(Southern Rock, Gothic Country, Cowpunk)

Coleman Williams' debut album as IV and the Strange Band is a sublime blend of Southern hard rock, gothic country songwriting, and outlaw country rebellion that doesn't let up for a minute. Southern Circus' tales of murder, vengeance, big top insanity, and pure Southern grit shows that the fourth generation of Williams musicians can live up to the legacy of his forefathers.

☆☆☆☆☆

There are few legacies in country music like the Williams. Started by Hank Williams, one of the most influential and beloved figures in American music, each musician within the Williams family lineage built on what the ones before them developed. After the first Williams was Hank Williams Jr., developing on his father's catchy country rock with bigger instrumentation, heftier vocals, and sturdier songwriting; Hank Williams III took that and brought some darker elements into the mix, albums like Straight to Hell and Lovesick, Broke & Driftin' infusing styles of metal and punk music into the fast-paced rockabilly his father helped cultivate. And now there's Coleman Williams, son of Williams III and the fourth generation of Williams musicians - quite the storied family legacy to uphold. But he doesn't let that overwhelm him for a bit, even when he was just a teenager, deciding to travel across the States after graduating high school and try everything the world had to offer him, being everything from a metalworker to a history buff to a poet and educator, not forcing himself into any one place and going wherever his heart took him. Now, based in Nashville and using his decade or so exploring America as his guide, his debut album as IV and the Strange Band Southern Circus is an absolutely stunning way to get the ball rolling. Taking his father's mix of punk rock, country and folk even further with bigger guitars, softer folk cuts and richer compositions, Southern Circus is just the beginning of what's sure to be an incredible artistic career. For the debut album of someone like Williams with such artistic family history behind him, Southern Circus feels remarkably unrestrained and assured in himself, something Williams is more than aware of and didn't let overwhelm him. Before he even got his start releasing music "...people were already expecting things of me. It felt like there was zero freedom of expression for someone with the last name 'Williams'" and that required him to break free of the music scene and go on that aforementioned journey across the States, blazing a trail outside of the music industry before returning to it with that time in the outside world behind him. When he did return, though, what really sparked his interest was getting himself invested in the underground Nashville scene, where he "found a family of people whom nobody else wanted — kids who were different and misunderstood — and during these two-hour shows, everyone belonged, everyone felt accepted, and everyone had a place," later putting together a group comprised of producer Jason Dietz, guitarist David Talley, banjo player Daniel Mason, drummer Carson Kehrer, fiddler Laura Beth Jewell, and steel player John Judkins that would be the people he recorded Southern Circus with. Inspired by Nashville's house-show circuit he was always around as a teenager, with its D.I.Y. spirits and embrace of everything from heavy metal to electronica, Southern Circus' sound is one that feels particularly attuned to the contemporary alt-country ethos of experimenting and manipulating with traditional rock formats, IV and the Strange Band setting down their 100-watt amps, plugging in all the distortion and noise they desire, the groaning guitar leads of centerpiece I'm Gonna Haunt You straight out of a doom metal album before fiddle and banjo ground it in the fields of a bloody Tennessee barn and Filth throwing down an unabashed hardcore punk tune with all the screaming and vein-bursting intensity you'd never expect to find on an album like this. But that's the fun of it all - they call themselves the Strange Band for a reason. They're not here to be anything but their genuine selves, balancing big top spectacle with determination and muscle that leaves you completely in awe of everything Southern Circus achieves. In line with the energetic blends of cowpunk while mixing in the deep melancholy of gothic country and thick guitar layers of Southern blues rock, Southern Circus' sound is one that feels both lived-in and like a complete breath of fresh air for the modern country scene, timeless country tunes that are an absolute salve in the ultra-sanitized, sterile world of contemporary country pop and bro-country. From the album's first single, Son of Sin, it was clear that Williams was carving his own path out, the song's creaky acoustic opener making way for thick guitar drones, anxious cinematic strings, and a chorus that absolutely fucking rips, that intense style of old Southern hard rock that hasn't sounded this good in years. The other three singles, Inbred, Stand Your Ground, and Deep Down, all gave similarly hard-hitting rock tunes, Inbred's gritty fiddle playing from Jewell adding extra drama to the song's tale of the Fugates family - whose incestuous history was latched onto by religious zealots way back in the 1800s - while the fast paced reassurance of Stand Your Ground and the gruesome murder tale of Deep Down with its grimy, Electric Wizard-esque guitars making for a thrilling lead-up to Southern Circus' full release. What's truly amazing is that the rest of the album is just as strong - and oftentimes stronger - than the little taste we got from the album's singles: save for the plaintive folksy opener Train with crisp acoustic guitar and Mason's twinkling banjo, there's not a moment on Southern Circus where IV and the Strange Band stall the engines: Cigarette Ends shows off William's howling vocal croons as he wrangles feelings of self-hatred and shame over twangy banjo and fiddle, Malice uses its danceable backbeat, bluesy guitars and Jewell's upbeat fiddle to explore how violence doesn't do all that much to make you feel better internally towards those you hate ("Cause I could stab you in the eye / And I could make you wanna die / But it won't change the way I feel inside"), Drinking Sad's downtempo groove adds an air of nostalgia as Williams pays homage to the gritty outlaw country that soundtracked his childhood, and I could keep going for every one of the album's twelve wonderful tracks. Each one's got an idea that IV and the Strange band take to the fullest, using Southern rock as their blueprint and modifying it with whatever's needed for their unique sound to take shape. Seriously, how often do you find a band combining absolute insanity with rich country instrumentation like this? Or a frontman who can deliver lines as absurd as "Licking that mud off my fingertips / I'm gonna stare you down while Granny moves those hips" (Filth) and a verse as hopeless and depressed as "Lefty killed the law at the door / Hopin' that there wouldn't be no more / Too bad ten came to settle the score / He just didn't seem to care anymore" (Southern Despair) and make it all work so beautifully? Southern Circus is not just a fantastic country album: it's one that sets a high standard for modern country music as a whole, cultivating a sound nobody else is right now and absolutely perfecting it on all twelve of the album's tracks, the patience and time he took waiting to get into recording music over the years paying off immensely as he pours his heart into every second here. He trusts his instincts entirely, trusting in his family's love of music to always support him while not buckling to the pressure: "I have to believe that's why Hank Williams made music, too; he could see what it did for people," Williams said. It's the mark of a strong person and unshakeable artist, proud of his bloodline but refusing to follow in their shadow, portraying himself as a clown on the cover of Southern Circus as an emblem of his commitment to himself and nobody else, catharsis and euphoria on his own terms. He's not just been dropped into the Williams' legacy, Southern Circus' enchantingly off-kilter country rock proves he's earned and well-deserving of his place within it. That alone is all he needs to make himself a powerful force in modern country, and when an album this good is his starting point, there's nowhere for IV and the Strange Band to go but up.

#iv and the strange band #southern circus #bcr #alternative rock #art rock #blues rock #country #country rock #cowpunk #folk #gothic country #hard rock #progressive country #punk #punk rock #rock #southern rock #2022 #10/10

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k-i-l-l-e-r-b-e-e-6-9 · 4 years

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Matanza - O Último Bar

#Matanza #Música para Beber e Brigar #O Último Bar #2003 #Hardcore punk Cowpunk #Brazil

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guerrilla-operator · 3 years

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JELLO BIAFRA AND MOJO NIXON

#jello biafra #mojo nixon #punk rock #hardcore punk #cowpunk #rockabilly #psychobilly #country rock #punk #rock #dead kennedys

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matarifes · 4 years

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Best of the 2010s

https://open.spotify.com/playlist/00I0wjqs9mIOBp9npilhwt?si=iKEGj6i0SFKmdJR8lwjoWQ

Noi!se - The scars we hide, 2014 (Oi!, Street Punk)

Vektor - Terminal Redux, 2016 (Technical Thrash Metal)

Yob - Clearing the Path to Ascend, 2014 (Doom Metal, Sludge Metal)

Converge - All We Love We Leave Behind, 2012 (Metalcore, Post-Hardcore)

Voïvod - The Wake, 2018 (Technical Thrash Metal, Progressive Metal)

Battle Ruins - Glorious Dead, 2018 (Oi!, Heavy Metal, Hardcore Punk)

Uncle Acid & The Deadbeats - Blood Lust, 2011 (Heavy Psych,Traditional Doom Metal)

Wormrot - Voices, 2016 (Grindcore)

Sólstafir - Svartir Sandar, 2011 (Atmospheric Sludge Metal, Post-Metal)

Martyrdöd - List, 2016 (Crust Punk, D-Beat)

Pallbearer - Foundations of Burden, 2014 (Doom Metal)

Cloud Nothings - Here and Nowhere Else, 2014 (Indie Rock, Post-Hardcore)

High on Fire - De vermis mysteriis, 2012 (Stoner Metal, Sludge Metal)

Perturbator - Dangerous Days, 2014 (Synthwave, Horror Synth, Darksynth)

Rolo Tomassi - Time Will Die and Love Will Bury It, 2018 (Post-Hardcore, Mathcore)

Thou - Heathen, 2014 (Sludge Metal, Doom Metal)

Power Trip - Nightmare Logic, 2017 (Thrash Metal, Crossover Thrash)

Gillian Welch - The Harrow & the Harvest, 2011 (Contemporary Folk, Americana)

Nails - Unsilent Death, 2010 (Grindcore, Powerviolence)

Amenra - Mass VI, 2017 (Atmospheric Sludge Metal)

Nick Cave & The Bad Seeds - Skeleton Tree, 2016 (Singer/Songwriter, Art Rock)

Conan - Existential Void Guardian, 2018 (Sludge Metal, Doom Metal) The Good The Bad and the Zugly - Misanthropical House, 2018 (Hardcore Punk) Lord Vicar - The Black Powder, 2019 (Doom Metal) Sturgill Simpson - Metamodern Sounds in Country Music, 2014 (Outlaw Country) Inquisition - Ominous Doctrines of the Perpetual Mystical Macrocosm, 2010 (Black Metal) Bongripper - Terminal, 2018 (Sludge Metal, Doom Metal) Dinosaur Jr. - I Bet On Sky, 2012 (Indie Rock, Alternative Rock) Integrity - Howling, for the Nightmare Shall Consume, 2017 (Metalcore, Crossover Thrash) Looking for an Answer - Dios carne, 2017 (Grindcore, Deathgrind) Monarch! - Never Forever, 2017 (Drone Metal, Sludge Metal, Doom Metal) Deströyer 666 - Wildfire, 2016 (Thrash Metal, Black Metal) OM - Advaitic Songs, 2012 (Psychedelic Rock, Drone, Doom) Dance with the Dead - Out of Body, 2013 (Synthwave, Darksynth) The War on Drugs - Lost in the Dream, 2014 (Heartland Rock, Indie Rock) SLEEP - The Sciencies, 2018 (Doom Metal, Stoner Metal) Midnight - Satanic Royalty, 2011 (Speed Metal, Black Metal) Wolfbrigade - Run with the Hunted, 2017 (Crust Punk, D-Beat) Absu - Abzu, 2011 (Black Metal, Thrash Metal) Baroness - Purple, 2015 (Stoner Metal, Psychedelic Rock) Subrosa - More Constant Than the Gods, 2013 (Doom Metal) Full of Hell - Weeping Choir, 2019 (Grindcore, Deathgrind) Satan - Cruel Magic, 2018 (Heavy Metal, Speed Metal) Black Breath - Sentenced to Life, 2012 (Death 'n' Roll, Crust Punk) King Woman - Created in the Image of Suffering, 2017 (Doom Metal, Atmospheric Sludge Metal, Post-Metal) Plebeian Grandstand - False Highs, True Lows, 2016 (Black Metal, Mathcore) Cosmic Psychos - Glorius Barsteds, 2011 (Garage Punk, Noise Rock) Dying Fetus - Reign Supreme, 2012 (Brutal Death Metal) Elder - Lore, 2015 (Stoner Rock) Misery Index - Heirs to Thievery, 2010 (Deathgrind) Spectral Voice - Eroded Corridors of Unbeing, 2017 (Death Doom Metal) Blood Ceremony - The Eldritch Dark, 2013 (Heavy Psych) Cobalt - Slow Forever, 2016 (Black Metal, Atmospheric Sludge Metal) The Hookers - It's Midnight... The Witching Hour, 2014 (Heavy Metal, Horror Punk) Napalm Death - Utilitarian, 2012 (Grindcore, Deathgrind) KEN Mode - Loved, 2018 (Post-Hardcore, Noise Rock, Sludge Metal) Mammoth Grinder - Cosmic Crypt, 2018 (Death Metal, D-Beat, Crust Punk) Trap Them - Darker Handcraft , 2011 (Crust Punk, Hardcore Punk) Krallice - Years Past Matter, 2012 (Black Metal) Incendiary - Thousand Mile Stare, 2017 (Metalcore, New York Hardcore) Neurosis - Fires within Fires, 2016 (Atmospheric Sludge Metal, Post-Metal) Electric Wizard - Black Masses, 2010 (Doom Metal, Stoner Metal) Infernal Coil - Within a World Forgotten, 2018 (Deathgrind, War Metal, Death Metal) Blut Aus Nord - 777 - Cosmosophy, 2012 (Atmospheric Black Metal, Avant-Garde Metal, Post-Metal) Eagle Twin - The Thundering Heard (Songs of Hoof and Horn), 2018 (Doom Metal, Stoner Metal) The Dillinger Escape Plan - One of Us Is the Killer, 2013 (Mathcore) Slowdive - Slowdive, 2017 (Dream Pop, Shoegaze) Cattle Decapitation - Monolith of Inhumanity, 2012 (Deathgrind) The Last - Danger, 2013 (Power Pop, Punk) Kendrick Lamar - good kid, m.A.A.d city, 2012 (Hip Hop) Inter Arma - Sulphur English, 2019 (Sludge Metal) Oneohtrix Point Never - Replica, 2011 (Plunderphonics, Ambient) Kvelertak - Kvelertak, 2010 (Hardcore Punk, Black 'n' Roll) Windhand - Soma, 2013 (Doom Metal) Unsane - Wreck, 2012 (Noise Rock, Post-Hardcore) Godflesh - Post Self, 2017 (Industrial Metal, Post-Metal) Kadavar - Kadavar, 2012 (Stoner Rock, Heavy Psych) Oranssi Pazuzu - Värähtelijä, 2016 (Psychedelic Rock, Black Metal) Kurt Vile - Wakin on a Pretty Daze, 2013 (Folk Rock, Singer/Songwriter) Ulcerate - Shrines of Paralysis, 2016 (Technical Death Metal) The Drones - I See Seaweed, 2013 (Punk Blues, Art Rock, Noise Rock, Garage Rock) Tomb Mold - Planetary Clairvoyance, 2019 (Death Metal) The Ruins of Beverast - Exuvia, 2017 (Death Doom Metal) Street Dogs - Street Dogs, 2010 (Punk Rock) Hell - Hell III, 2012 (Sludge Metal, Doom Metal, Drone Metal) Fucked Up - David Comes to Life, 2011 (Hardcore Punk, Indie Rock) Primitive Man - Caustic, 2017 (Sludge Metal, Doom Metal) Sick of it All - Based on a True Story, 2010 (New York Hardcore, Hardcore Punk) Triptykon - Melana Chasmata, 2014 (Doom Metal) Night Birds - Born to Die in Suburbia, 2013 (Punk Rock, Hardcore Punk) Deathspell Omega - Paracletus, 2010 (Black Metal) Tombs - Path of Totality, 2011 (Sludge Metal, Black Metal) King Gizzard and the Lizard Wizard - Nonagon Infinity, 2016 (Psychedelic Rock, Garage Rock) Wormed - Exodromos, 2013 (Brutal Death Metal, Technical Death Metal) Terror - Keepers of the Faith, 2010 (Hardcore Punk) MGLA - Exercises in Futility, 2015 (Black Metal) Horn of the Rhino - Weight of Coronation, 2010 (Sludge Metal, Doom Metal) The Men - Open Your Heart, 2012 (Indie Rock, Noise Rock) Bölzer - Hero, 2016 (Black Metal, Death Metal) OFF! - First Four EPs, 2010 (Hardcore Punk) Gorguts - Colored Sands, 2013 (Technical Death Metal) Chelsea Wolfe - Abyss, 2015 (Darkwave, Gothic Rock) Jason Isbell - Southeastern, 2013 (Americana) Gaza - No Absolutes in Human Suffering, 2012 (Mathcore, Sludge Metal Grindcore) Cult Leader - A Patient Man, 2018 (Sludge Metal, Mathcore, Slowcore) Royal Thunder - CVI, 2012 (Hard Rock, Stoner Rock, Blues Rock, Psychedelic Rock) Baptists - Bushcraft, 2013 (Crust Punk, Hardcore Punk) Witchcraft - Legend, 2012 (Hard Rock, Heavy Metal) Eyehategod - Eyehategod, 2014 (Sludge Metal, Doom Metal) Yellow Eyes - Rare Field Ceiling, 2019 (Black Metal) Shellac - Dude Incredible, 2014 (Math Rock, Noise Rock, Post-Hardcore) Agalloch - Marrow of the Spirit, 2010 (Atmospheric Black Metal, Post-Rock, Dark Folk, Folk Metal, Post-Metal) Fuzz - Fuzz, 2013 (Heavy Psych, Garage Rock) Gojira - L'enfant sauvage, 2012 (Progressive Metal, Death Metal) Deafheaven - Sunbather, 2013 (Blackgaze, Post-Metal) Earth - Primitive and Deadly, 2014 (Psychedelic Rock, Stoner Rock, Heavy Psych, Drone, Post-Rock) Enslaved - Axioma Ethica Odini, 2010 (Progressive Metal, Black Metal) Blood Incantation - Starspawn, 2016 (Death Metal) Cloud Rat - Pollinator, 2019 (Grindcore) Esoteric - A Pyrrhic Existence, 2019 (Funeral Doom Metal) Ufomammut - Eve, 2010 (Doom Metal, Sludge Metal, Heavy Psych) Boris - Dear, 2017 (Sludge Metal, Drone Metal, Post Metal) Between the Buried and Me - Automata I, 2018 (Progressive Metal) Usnea - Portals into Futility, 2017 (Sludge Metal, Death Doom Metal) Altarage - The Approaching Roar, 2019 (Death Metal, Black Metal) Pinkish Black - Concept Unification, 2019 (Psychedelic Rock Gothic Rock, Darkwave) Adrift - Black Heart Bleeds Black, 2012 (Sludge Metal, Atmospheric Sludge Metal) Hot Snakes - Jericho Sirens, 2018 (Garage Punk, Post-Hardcore) Portal - Vexovoid, 2013 (Death Metal) Iron Reagan - Worse Than Dead. 2013 (Crossover Thrash, Hardcore Punk) Sumac - What One Becomes. 2015 (Sludge Metal) Mylingar - Döda Själar, 2019 (Black Metal, Death Metal) Descendents - Hypercaffium Spazzinate, 2016 (Punk, Hardcore Punk) Evoken - Atra Mors, 2012 (Funeral Doom Metal) Weyes Blood - TItanic Rising , 2019 (Baroque Pop, Art Pop) Behemoth - The Satanist, 2014 (Death Metal, Black Metal) Spirit Adrift - Divided by Darkness, 2019 (Doom Metal, Heavy Metal) Expulsion - Nightmare Future, 2017 (Deathgrind, Crust Punk) Funeral Mist - Hekatomb, 2018 (Black Metal) Bob Wayne - Outlaw Carnie, 2011 (Alt-Country) Overkill - Ironbound, 2010 (Thrash Metal) Mizmor - Yodh, 2016 (Doom Metal, Sludge Metal, Black Metal) Chris Stapleton - Traveller, 2015 (Americana, Country) Indian - From All Purity, 2014 (Sludge Metal, Drone Metal, Doom Metal) In Solitude - Sister, 2013 (Heavy Metal, Gothic Rock, Post-Punk) Leviathan - Scar Sighted, 2015 (Black Metal) Graveyard - Hisingen Blues, 2011 (Hard Rock, Blues Rock, Heavy Psych) The Body - I Shall Die Here, 2014 (Drone Metal) Cought - Still the Pray, 2016 (Doom Metal, Sludge Metal) Cock Sparrer - Forever, 2017 (Oi!) Cult of Luna - A Dawn to Fear, 2019 (Atmospheric Sludge Metal, Post-Metal) Black Tusk - Pillars of Ash, 2014 (Sludge Metal, Stoner Metal, Hardcore Punk) Abstracter - Cinereous Incarnate, 2018 (Black Metal, Sludge Metal, Death Doom Metal) Th' Legendary Shack Shakers - The Southern Surreal, 2015 (Cowpunk, Psychobilly) Alcest - Écailles de lune, 2010 (Blackgaze, Post-Metal, Shoegaze) Runt - Positions of Power, 2017 (Hardcore Punk, No Wave, Noise Rock) Panopticon - Autumn Eternal, 2015 (Atmospheric Black Metal) The Goddamn Gallows - Seven Devils, 2011 (Psychobilly, Gothic Country) Altar of Plagues - Teethed Glory and Injury, 2013 (Atmospheric Black Metal, Post-Metal) Peter Pan Speedrock - We Want Blood, 2010 (Punk Rock, Hard Rock) Lord Mantis - Death Mask, 2014 (Sludge Metal, Doom Metal) Scott H. Biram - Bad Ingredients, 2011 (Alt-Country, Cowpunk, Electric Blues) Deceased... - Ghostly White, 2018 (Thrash Metal, Death Metal) Impalers - Cellar Dweller, 2017 (Hardcore Punk, D-Beat) Noisem - Blossoming Decay, 2015 (Thrash Metal, Death Metal, Deathgrind) Horrendous - Anareta, 2015 (Death Metal, Progressive Metal) Amebix - Sonic Mass, 2011 (Post-Punk, Crust Punk) Killing Joke - Pylon, 2015 (Post-Punk, Industrial Rock/Metal) Carpenter Brut - Trilogy, 2015 (Synthwave, Darksynth, Electro House) The Templars - Deus Vult, 2017 (Oi!, Punk Rock) Big Business - Battlefields Forever, 2013 (Stoner Metal, Sludge Metal) Waste Management - Tried and True, 2018 (Hardcore Punk) The Last Crusade - S/T, 2018 (Oi!) Ausmuteants - Band of the Future, 2016 (Synth Punk, Garage Punk) Niechęć - Niechęć, 2016 (Jazz Fusion/Rock, Avant-Garde Jazz) Carcass - Surgical Steel, 2013 (Melodic Death Metal) Helms Alee - Sleepwalking Sailors, 2014 (Atmospheric Sludge Metal, Post-Rock, Stoner Rock) Bell Witch - Four Phantoms, 2015 (Funeral Doom Metal) Teitanblood - Death, 2014 (Death Metal, War Metal) Hank Williams III - Rebel Within, 2010 (Cowpunk, Alt-Country, Country) Monster Magnet - Last Patrol, 2013 (Stoner Rock, Hard Rock, Heavy Psych)

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