A combination of muscular impact and expansive atmospherics.

Documentary about the Wacken Open Air heavy metal music festival. Featuring interviews with fans, musicians and the event's organisers, the programme traces the history of the festival and documents its community since its debut outing in 1990 in the small German village of Wacken.

Track list:
I Apologise if You Feel Something
Mantra
Nihilist (Ft. Grimes)
In the Dark
Wonderful Life (Ft. Dani Filth)
Ouch
Medicine
Sugar Honey Ice & Tea
Why You Gotta Kick Me when I'm Down
Fresh Bruises
Mother Tongue
Heavy Meetal (Ft. Rahzel)
I Don't Know What to Say

Track Listings
1 : PO
2 : Statue
3 : Thread Tugging
4 : Copper Mirror

This release is pressed on 12" one colored vinyl with a screen-printed Side B. Positivity is a rare commodity these days. Mythless is the most aggressively major-key-laden, percussion-heavy, heart-warming experimental music you're likely to hear. The new guitar-worshiping project from Fang Island co-founder Jason Bartell is at once heavy, anthemic, pensive, and triumphantly hopeful. The debut EP Patience Hell somehow exists at the intersection of trance-metal and meditative-hardcore. Driven by the shredding, drone-like drums of fellow Fang Island expat Marc St. Sauveur, Mythless flirts with the tech-y music of their peers, but seems to share more DNA with Enya than The Dillinger Escape Plan. The band's unabashed guitar rock exists without ego and without irony. It comes from a place deep inside. Bartell's artistic candor seems to possess a brazen joy and obliviousness to judgement, like watching a stranger in the car next to you belt out a Journey song without a care in the world. It's beautiful, and infectious.

Collection of live performances from the English metal band Asking Alexandria, including their sold out show at the O2 Academy, Brixton and their Reckless Halloween performance at The Wiltern in Los Angeles.

Koi No Yokan is the seventh full-length studio album by American alternative metal band Deftones. The album was released through Reprise Records on November 12, 2012, in the UK and November 13, 2012, in the United States. Band frontman Chino Moreno characterized the album as "dynamic" with a full range of sound, noting that more contributions were made to the album from bassist Sergio Vega compared to their previous record, Diamond Eyes. On September 19, 2012, the band released the song "Leathers" as a promotional single via a free download on their website.

Badlands' long lost, third and final album, Dusk isn't really an album at all, but a batch of demos recorded between 1991 and 1992 for the group's then label, Atlantic, which first rejected them, then dropped the band, already mired in personal strife since the troubled sessions for their commercially disappointing second album, Voodoo Highway. Accordingly, the tracks that would eventually surface as Dusk were circulated as bootlegs and would have likely been mostly forgotten if not for the AIDS-related death of singer Ray Gillen, in December 1993, and the subsequent rise of the worldwide web -- both of which undoubtedly helped stimulate interest in the recordings. This led, in time, to their "official" release in 1998 by the Pony Canyon label, but it hardly altered the fact that Dusk's ten tracks were mostly one-take jobs, reportedly cut by Gillen, guitarist Jake E. Lee, bassist Greg Chaisson, and drummer Jeff Martin in just six-to-eight hours. So although the musicianship was impressively solid and the sound acceptable enough, Dusk's songs lacked the usual refinements of a final album mix, and some lyrics were even ad-libbed, resulting in a rather uniform set, devoid of the characteristic variety and bombast heard on Badlands' first two albums. Instead, most cuts might accurately be described as competent blues metal (not unlike previous efforts, just duller), with rare standouts like foreboding opener "Healin'," the distinctively brash "Walking Attitude," and the notably funky "Ride the Jack," still draped under a mantle of weary resignation, reflective of the band's dispirited frame of mind at the time. Also worth mention, though are "The River" and "Lord Knows" -- two promising sketches that may, with additional studio seasoning, have been transformed into powerful, slow-burning blues rockers; as well as the Eastern-flavored "Sun Red Sun," which contained intriguing traces of Alice in Chains, then on the rise along with the entire grunge nation. But, as mentioned earlier, all of the material collected on Dusk was far too raw and undeveloped for proper mainstream consumption, making its commercial existence justifiable only as a parting treasure for avowed Badlands aficionados. ~ Eduardo Rivadavia

We made this record for the 18- to 25-year-old kid who just wants to blast some heavy s*** out his window--something you can groove to and rock out to that means something. There's no glitz or glamour--just a heavy-hitting record that encompasses all of Avenged Sevenfold. It's a record that new fans and old fans will love. -- M. Shadows

All Hope Is Gone is the fourth studio album by American metal band Slipknot. Released on August 20, 2008 by Roadrunner Records, the album was published in two versions: the standard album in a Compact Disc case and a special edition packaged in a six-fold digipak containing three bonus tracks, a 40 page booklet, and a bonus DVD with a documentary of the album's recording. Preparation for the album began in 2007, while recording started in February 2008 in the band's home state of Iowa. Read more on Last.fm.

Mot�rhead's short stay at Epic Records (1991-1992) marked a particularly uninspired period in the band's long career. Hellraiser collects seven songs from each of the albums it recorded (1991's 1916 and 1992's March or Die) and adds two songs that were recorded at the time but not released: "Dead Man's Hand" and one of the better songs here, "Eagle Rock." Lemmy seemingly was searching for some kind of mainstream rock success at this point. Both albums lack the fire of earlier Mot�rhead material and March or Die shows a shocking lack of toughness. "1916" provides the only highlight of the set, "Ramones" is a fast and fun ode to the brothers Ramone, "Going to Brazil" is a 12-bar rocker about going to Brazil, oddly enough, and "Angel City" is a boogified tribute to the Los Angeles rock scene. Elsewhere the band was dipping into weak epic balladry with "1916," bad blues with "You Better Run," lame generic heavy metal with "Hellraiser" and "Asylum Street," boring covers with "Cat Scratch Fever," and worst of all acoustic power ballads with "I Ain't No Nice Guy" featuring Ozzy and Lemmy croaking their way through some really dumb lyrics. Unsurprisingly, Mot�rhead's attempt to sell out failed miserably and by the next record the band was off a major label and back to doing what it does best; making loud, fast, and obnoxious records. If you are a Mot�rhead fanatic, you probably have all the material on Hellraiser already, but if you don't have it, don't get it as it is Mot�rhead at its worst. ~ Tim Sendra