Welcome to our “Psychedelic Lunch” series, “Jazz Week,” where we find out how deep the rabbit hole really goes and explore music from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!


October 21, 1917
Cheraw, South Carolina


January 6, 1993 (aged 75)

Englewood, New Jersey


Big Band Style



Polar Music Prize (1993)

Grammy Award (1991)

Kennedy Center Honors (1990)

Grammy Award (1975)

Dizzy Gillespie, byname of John Birks Gillespie, (born October 21, 1917, Cheraw, South Carolina, U.S.—died January 6, 1993, Englewood, New Jersey), American jazz trumpeter, composer, and bandleader who was one of the seminal figures of the bebop movement.

Gillespie’s father was a bricklayer and amateur bandleader who introduced his son to the basics of several instruments. After his father died in 1927, Gillespie taught himself the trumpet and trombone; for two years he attended the Laurinburg Institute in North Carolina, where he played in the band and took music classes. His first professional job was in Frankie Fairfax’s band in Philadelphia; his early style showed the strong influences of his idol, trumpeter Roy Eldridge. Gillespie’s penchant for clowning and capriciousness earned him the nickname Dizzy. In 1937 he was hired for Eldridge’s former position in the Teddy Hill Orchestra and made his recording debut on Hill’s version of “King Porter Stomp.”

In the late 1930s and early ’40s, Gillespie played in a number of bands, including those led by Cab Calloway, Ella Fitzgerald, Earl Hines, Duke Ellington, and Billy Eckstine. He also took part in many late-night jam sessions at Minton’s Playhouse, a New York City nightclub, and was among the club’s regulars who pioneered the bebop sound and style (others included Charlie Parker, Charlie Christian, Thelonious Monk, and Max Roach). In 1944 the first bebop recording session included Gillespie’s “Woody ’n’ You” and featured Gillespie and Coleman Hawkins. Ultimately, Charlie Parker and Gillespie were regarded as cofounders of the bebop movement; the two worked together in several small groups in the 1940s and early ’50s. Although Parker was easily irritated by Gillespie’s onstage antics, their musical relationship seemed to benefit from their personal friction and their competitive solos were inventive, even inspired.

Gillespie formed his own orchestra in the late 1940s, and it was considered to be one of the finest large jazz ensembles. Noted for complex arrangements and instrumental virtuosity, its repertoire was divided between the bop approach—from such arrangers as Tadd Dameron, John Lewis, George Russell, and Gillespie himself—and Afro-Cuban jazz (or, as Gillespie called it, “Cubop”)—in such numbers as “Manteca,” “Cubano Be,” and “Cubano Bop,” featuring conga drummer Chano Pozo. Gillespie formed other bands sporadically throughout the remainder of his career, but he played mostly in small groups from the 1950s onward.

To many, Gillespie ranks as the greatest jazz trumpeter of all time, with the possible exception of Louis Armstrong. He took the saxophone-influenced lines of Roy Eldridge and executed them faster, with greater ease and harmonic daring, playing his jagged melodies with abandon, reaching into the highest registers of the trumpet range, and improvising into precarious situations from which he seemed always to extricate himself. Gillespie helped popularize the interval of the augmented eleventh (flat fifth) as a characteristic sound in modern jazz, and he used certain stock phrases in his improvisations that became clichés when two generations of jazz musicians incorporated them into their own solos. His late 1940s look—beret, hornrim glasses, and goatee—became the unofficial “bebop uniform” and a precursor to the beatnik styles of the 1950s. Other personal trademarks included his bent-bell trumpet and his enormous puffy cheeks that ballooned when playing. Gillespie was also a noted composer whose songbook is a list of bebop’s greatest hits; “Salt Peanuts,” “Woody ’n’ You,” “Con Alma,” “Groovin’ High,” “Blue ’n’ Boogie,” and “A Night in Tunisia” all became jazz standards.

Although his most innovative period was over by the end of the 1950s, Gillespie continued to perform at the highest level. During the 1970s he made several big band, small-group, and duet recordings (with such players as Oscar Peterson and Count Basie) that rank among his best work. As an active musical ambassador, Gillespie led several overseas tours sponsored by the U.S. State Department and traveled the world extensively, sharing his knowledge with younger players. During his last few years, he was the leader of the United Nations Orchestra, which featured such Gillespie protégés as Paquito D’Rivera and Arturo Sandoval. Gillespie’s memoirs, To Be, or Not…to Bop, were published in 1979.

Psychedelic Lunch

King Ov Wyrms Have Punishing New Single “Lechery” Out Off “Lord Ov Thornes”

Track Premiere via TheCirclePit

“Lord Ov Thornes” Out November 20th

King Ov Wyrms comes from Tucson, Arizona and with them, brings a wave of old school death metal, intertwined with black metal, an abusive assault of aggressive music exemplified in the new album “Lord Ov Thornes” arriving on November 20, 2020.

The latest single off this upcoming release is “Lechery”, the first song that Michael Sanchez wrote under the moniker King Ov Wyrms. Sanchez cites his inspiration that comes through in the upcoming offering: 

“I’ve always been a big fan of old school death metal and black metal, the pure intensity and the power it holds has always grabbed my interest. A lot of influence I drew while writing this material came from the music I listened to as a teenager which was a lot of 80s thrash metal and death metal, the satanic and brooding content of black metal, and even a bit of tech-death simply because of just how overwhelming it could be at times.”

In a spell of writing, Sanchez was unsuccessful in finding a vocalist to fulfill the vision for the album, and this is the first time his vocals have been recorded. The result is a non- stop assault on the senses, no-frills, just a pure old school death metal onslaught.

The lyrical contents for the single changed about three times before Sanchez ended up deciding on just exploring the gluttonous side of sin and ultimately lechery.

Recommended for fans of Enthroned, Vader, and Dark Funeral, King Ov Wyrms will no doubt intrigue metal fans around the world with this debut. 

The third single “Lechery” can be heard via its premiere on the TheCirclePit’s YouTube channel HERE.

The debut album “Lord Ov Thornes” comes out on November 20, 2020.

Previous singles “Thorne Bearer” and “Threnody” are available for download on Kingovwyrms.bandcamp.com and stream on YouTube, Spotify.

Track Listing:
1. Threnody (5:48)
2. The Great Sleeper (7:31)
3. Hell’s Breathe (5:40)
4. From Below (5:51)
5. The Maggots That Crawled From The Wounds (8:57)
6. Lechery (4:24)
7. Thorne Bearer (4:18)
8. Ascendance Of A Continual One (8:53)
Album Length: 51:26

For more info:

King Ov Wyrms is homage to classic death and black metal acts of the late ’80s/early ’90s with a touch of modern aggression.

Formed in Tucson, AZ. King came from the want of a more aggressive act when the main band of Michael Sanchez, Pain Patterns, started taking its roots in early 2015. He loved the music he was creating but felt that the band couldn’t fulfill his desire for a purely aggressive musical venture.

The project went through many different lineup changes only to be consistently held together by Sanchez. Having studied classical music and jazz to a degree while growing up, it gave him the tools to write comfortably on his own even in the concept of metal music. He starts out with a basic riff or a small melody line off of a piano and just adds on and on until it manifests into some sort of abomination of sound.

In early 2020 upon Sanchez’s departure from the power metal act Judicator, he decided to pull King out of hiatus but only as a solo effort to produce a full-length album. Over the span of several months, Sanchez was able to completely record all of the songs previously written for King as a full lineup, this time all the music was performed and written solely by him.

King Ov Wyrms will release its debut album “Lord Ov Thornes” on November 20th, 2020, and it will feature lyrical themes encompassing the occult, and a deep love for Lovecraftian horror.

“Fury does indeed radiate from the music in violent waves. The song (Thorne Bearer) takes flight through rapid-fire drum battery and deep, dismal, heaving tremolo’d riffing that climbs and flares in manifestations of madness and misery, and squalls in blasts of vicious, mauling cruelty. Sanchez contributes his own vocals to the melee, venting horrid growls and scorching screams, which add to the music’s enraged and ferocious striking power. The song’s urgent pace never relents, but the drum patterns morph, as do the riffs, which feverishly squirm and flail as well as jolt and jar in savage, pulsing fashion. The jet-fueled energy and barbarous intensity of the music are both intense and captivating, and they’re joined in the red zone by sensations of rage and maniacal menace.” – No Clean Singing

King Ov Wyrms Have Punishing New Single “Lechery” Out Off “Lord Ov Thrones”

Welcome to our “Psychedelic Lunch” series, “Spooktober Edition” where we find out how deep the rabbit hole really goes and explore music from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Vlad The Impaler By Kasabian, Album: West Ryder Pauper Lunatic Asylum (2009)

Before Bram Stoker transformed folklore into mainstream pop culture, before Lestat made women the world over long for bloodthirsty demon lovers, and long before immortal high school students sparkled in the sun, the ruthless 15th Century ruler of Wallachia, Romania, gave rise to the legend of the vampire: Vlad Dracul III. Bram Stoker borrowed this man’s Romanian name, Dracul, meaning devil or dragon, and turned it into his blood drinking fiend, Count Dracula. But the real Count Dracul, dubbed Vlad Ţepeş, Vlad the Impaler, earned his gruesome moniker by means far more grotesque than iterated in fiction.

Vlad the Impaler ruled at a time when the Balkans were under constant threat of conquest by the Turks and Ottoman Empire. Vlad took sadistic pleasure in the torture and execution of both prisoners and rivals. Rumoured to have set an entire banquet hall alight, roasting conspirators and traitors alive, Vlad’s preferred method of execution was impalement. This often resulted in veritable forests of dying men on spikes, which served as both punishment and warning, deterring many would-be attacks. Legend has it that Vlad was particularly partial to these macabre displays and that he often enjoyed a meal while watching the prisoners die in agony on their spikes, and that he dined while observing the dismemberment of prisoners by his executioners. It is perhaps these grisly past-times that cloaked Vlad Dracul in dark, vampiric legend.

Castle Bran

Although there is little to connect Vlad to Castle Bran, just outside Braşov, this fortress-like edifice built on the Transylvania-Wallachian border has become the home of the legend and a popular tourist destination, complete with rooms documenting the lore and culture of vampirism from Vlad Ţepeş to Tom Cruise & Brad Pitt, Vampires have become a cultural phenomenon, the brutal creatures warped by fiction writers into pretty pin-ups, objectified and lusted after. These immortal blood-drinkers have inspired numerous art forms from filmmakers to writers and musicians. Kasabian, the English rock band from Leicestershire, is no exception.

The song, “Vlad the Impaler,” begins with a warped guitar riff and is soon joined by thumping drums. The epileptic song is peppered with weird effects, lending it the necessary dark and spooky atmosphere, conjuring blood drenched images of psychopathic vampires haunting the dank corridors of crumbling castles. The odd glissando vocals also contribute to the more bizarre soundscape as do the lyrics which seem to be documenting a more contemporary murderous situation with an oblique reference to one of the darkest comic book characters in the DC universe, The Joker from the Batman series.

Bran Castles Bell Tower

“Vlad the Impaler” is the seventh track on the album West Ryder Pauper Lunatic Asylum, a concept album of sorts in which each track represents an inmate at the titular asylum, a real group of mental institutions in West Yorkshire. Given the inspiration behind the album, it’s no wonder Vlad makes an appearance on an album dedicated to those of questionable sanity.

Whether Vlad Dracul III really did enjoy sipping on type O negative or not, his unwavering brutality and sadistic pleasures laid the foundation for a cultural phenomenon that has persisted for centuries.

The song pays tribute to the late Dark Knight actor Heath Ledger through the line “Joker, see you on the other side.” Vocalist Tom Meighan explained to The SunMay 22, 2009: “When Heath Ledger died, Serge had just written Vlad The Impaler so he added that line to pay respect.” Guitarist Sergio Pizzorno added: “He’d just finished this amazing film and his life was over. I identified with him. I know so many people who get off their heads and then can’t sleep so they have a sleeping pill. I thought ‘That could have been anyone I know. It’s just such a waste of a great man’s life.”

Pizzorno told the New Musical Express January 17, 2009: “The timing is strange and the vocals are in and out because it’s a rant. I wanted that Beastie Boys, Clash feel, giving Tom a song to sing where he can rant, because that’s when he’s at his most genius.”

Pizzorno said to the NME June 13, 2009: “I knew the moment I wrote the riff it was going to be massive.” he added: “I like that Tom and my voices swap over.”

A video was made for this song starring English comedian Noel Fielding as a vampire slayer. Pizzorno told the NME: “Doing the video with Noel Fielding was outrageous, him running around a country house impaling people.”

Psychedelic Dinner All Hallows Eve Edition

With only 14 days left until one of the most important elections in American history, MINISTRY‘s Al Jourgensen is encouraging fans to “Git Up, Get Out ‘N Vote” by whatever means necessary ahead of the November 3 deadline. Today, MINISTRY releases a brand-new video to spread the message, using the music and lyrics from the notorious song that originally appeared on the band’s 2012 release “Relapse”.

Stay tuned to MINISTRY‘s official social media accounts (@WeAreMinistry) the next two Tuesdays (October 27 and November 3) for additional surprises that will launch leading up to Election Day.

To provide the perfect soundtrack to get fans engaged in the upcoming voting season, MINISTRY has also created a new playlist, “The Soundtrack To Your Election”, available now on Spotify. With 30 powerful selections, the playlist features personal favorites of Jourgensen as well as MINISTRY‘s own rally cries including new single “Alert Level” and tracks from the highly politicized album “AmeriKKKant”, the band’s most recent full-length release.

Jourgensen has spent decades using his music to rally fans and listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place. Songs like “Thieves”, “Lies, Lies, Lies” and “N.W.O.” have taken on political corruption and the societal constructs that led to historic events like 9/11 and the 1992 Los Angeles riots while the George W. Bush administration spurred an entire trilogy from the industrial godfather.

With America still on the brink, Jourgensen has re-entered the studio to create his missives that will become material for a to-be-announced new album on Nuclear Blast Records. The first taste, “Alert Level” was released in April, and asked fans to be part of the larger conversation by answering the question posed by the song, “How concerned are you?” Many of the videos have been shared across MINISTRY‘s social media pages as the band and Jourgensen encourage fans to remain engaged and informed in 2020.

MINISTRY Releases New ‘Git Up, Get Out ‘N Vote’ Video

Welcome to our “Psychedelic Lunch” series, “Spooktober Edition” where we find out how deep the rabbit hole really goes and explore music from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Totengott By Celtic Frost, Album: Monotheist 2006

I chose the song Totengott for todays Spooktober edition because of its disturbing sound and haunting lyrics. While the band doesn’t host a myriad of tragedy in their past they do posses an interesting history, originality and collective talent.

The influence of Celtic Frost (/ˈkɛltɪk frɒst/) on the extreme metal scene is undeniable. Since forming, the Zürich band – led by Thomas Gabriel Fischer (then opting for the surname Warrior) – released six albums and two EPs.

Celtic Frost and their primordial predecessor, Hellhammer, have long been an immutable part of early extreme metal’s most unholy triumvirate (alongside Bathory and Venom). From the earliest, messiest days of Hellhammer up to and including the band’s weighty final statement, Monotheist, Celtic Frost consistently and fearlessly seared their black mark upon rock ‘n’ roll history. Whether they were busily introducing the avant-garde to metal or simply hammering out one of those goddamn riffs, it may sound hyperbolic to say, but there’s no denying it: Celtic Frost changed the world.

Contrary to popular belief, Hellhammer never changed its name to Celtic Frost, even though the band formed very quickly after Hellhammer’s demise.

The classic Celtic Frost lineup circa 2006.

They first disbanded in 1987 but six months later Warrior reformed the band. When they reformed in 2001, they founded their own record label called Prowling Death Records and their own publishing imprint called Diktatur des Kapitals, to gain absolute control over their music. Later, Celtic Frost and Prowling Death Records signed a worldwide licensing deal with Century Media Records, so the rights for their new material is their own and is released by Century Media.

A demo tape called Prototype exists. Among other tracks, it contains two Apollyon Sun tracks, “Relinquished Body” and “Deep Inside”.

Cold Lake is largely different from anything else they have ever recorded. The band has repeatedly disowned this release and attribute the shocking change in style to pressure from the record company.

Singer and guitarist Tom Gabriel Fischer announced his departure from Celtic Frost on 9th of April 2008, due to “the unresolvable, severe erosion of the personal basis so urgently required to collaborate within a band so unique, volatile, and ambitious.” It was confirmed in a joint statement by Fischer and Martin Ain in September of that year that Celtic Frost had disbanded again. Fischer later founded a new band called Triptykon and Ain planned to carry on with a new project with drummer Franco Sesa.

Monotheist is the fifth and final studio album by the Swiss extreme metal band Celtic Frost. The album was released in May 2006 and was the first new recording released by the band in sixteen years. Upon its release, the album was met with critical acclaim.

Celtic Frost’s earlier work melded elements of thrash metal and black metal. The sound of Monotheist has been described as difficult to reduce to specifics, as the songs vary from doom metal to “blackened thrash” to gothic metal to symphonic metal. The result is a wide-ranging but very dark heavy metal experience. Don Kaye at Blabbermouth called it “a monstrously heavy and oppressive slab of metal” which goes “into even heavier, blacker territory” than previous albums. Adrien Begrand of PopMatters said that the album was nearly a masterpiece of “brutally heavy” metal, “completely devoid of light.” Eduardo Rivadavia of AllMusic noted more subtle touches such as the “instantaneously infectious melody” of “A Dying God Coming into Human Flesh”, and the “haunting female voices” heard in duet with bandleader Tom Warrior on “Drown in Ashes”.

According to Fischer, some of the lyrics were influenced by the writings of the English occultist Aleister Crowley. This influence manifests itself in tracks such as “Os Abysmi Vel Daath”, which is the partial name of one of Crowley’s books.

In an interview with Louder Sound, Fischer would speak in detail on the culmination of the album based on artistic merit and the “spark” to close out their career on a high note:

“Celtic Frost eventually dissolved in the early 1990s and I think both Martin and I felt that on the one hand we didn’t want to have anything to do with Celtic Frost at the time because of the way that it ended, but at the same time, given that these last two albums of Celtic Frost were such failures, we always felt that not everything had been said. We always said, this cannot be how Celtic Frost ends. I think we always carried that little spark in ourselves. We always knew that one day we would probably have to talk about it, whether it should be the end or whether we should attempt to resurrect that. But we weren’t in the mood throughout the 1990s, and that was a good thing. We received sometimes incredibly lucrative offers to reform the band for certain festivals. There was this one offer particularly that was monstrously big, and Martin and I talked about it and we decided we were not going to reform Celtic Frost for money. If we ever reform it, it has to be for artistic reasons, and I’m very proud we did this. So we waited a few more years, but eventually in 2001 we met for dinner in Zürich, and we just said, look, we have to attempt at least to provide some kind of artistic conclusion to Celtic Frost that is worth the name. That’s really when Monotheist became a reality from having been in the back of our minds as a concept for many years, but that’s when it became a reality.

“It’s the album that should have followed Into The Pandemonium really. To me it’s different from the other Celtic Frost albums, but then every album is different to the other Celtic Frost albums, that is why it’s a Celtic Frost album. And to me, Monotheist counts as one of the important Celtic Frost albums. To me, there are four albums that Celtic Frost did that are crucial to the band’s history and those are the first three and Monotheist. And I’m extremely glad that we have the guts to do this and we had the patience to work for five-and-a-half years on that album to make it right.”

— Thomas Gabriel Fischer, Louder Sound

On 15 September 2006, Century Media released a music video for “A Dying God Coming Into Human Flesh”. 

What would follow would be the band’s most extensive touring cycle of their entire career, with over 120 shows spanning over the course of two years. Even more notable is the band managing to perform more live shows in these two years than in the entirety of their initial run.

Adrian Winkler and a team of camera crew followed the band on these tours, filming for a documentary entitled Celtic Frost – A Dying God. The documentary aired on Sunday, 16 November 2008 on Swiss national TV station SF1 (After the band’s demise.)

In May 2008 Fischer would form a new band in Triptykon with former Freitod bassist Vanja Slajh, Dark Fortress guitarist V. Santura and former Celtic Frost drummer Reed St. Mark (though he would be replaced the same year). This new band would evoke a similar sound as to what was displayed on Monotheist, with the band also performing classic Celtic Frost and Hellhammer songs live.

This new band has two studio albums and an EP released to date with a third on the way.

Notably in 2018 Fischer would begin involvement in two new musical projects: Niryth (A triple-bass project whose music has yet to be revealed and thus “Unclassifiable”.) and Triumph of Death (A Hellhammer tribute band with a host of festival appearances set for 2019.)

Martin Eric Ain stopped actively playing music entirely and owns a DVD shop and a bar in Zurich called Acapulco. He is also a co-owner of the music club Mascotte, which has become well known for hosting upcoming international bands. He would however perform spoken word on occasion and contribute his voice to a handful of releases. Ain would pass away from a heart attack on 21 October 2017.

On 30 March 2010 Bazillion Points Publishing would release a book of Hellhammer and early Celtic Frost entitled Only Death Is Real: An Illustrated History of Hellhammer and Early Celtic Frost 1981–1985, featuring an introduction by Nocturno Culto of Darkthrone and a foreword by author Joel McIver. Two follow-up books have since been announced in the works: A revised version of Are You Morbid? detailing the entirety of the band’s first run and a book detailing the band’s reunion and Triptykon.

In the fall of 2016 BMG would acquire the Noise Records catalog with plans to do expanded reissues of many classic albums among the label, with Celtic Frost being among those artists. BMG would approach Fischer about participation in the reissue project to which he would contribute to it, including unheard bonus tracks, new liner notes, photos and a re-mastering by Fischer and V. Santura. Cold Lake would once again be omitted as Fischer considers it “an abomination”. However on 17 May 2017 Fischer would announce that due to censoring and editing of proposed liner notes he would no longer endorse the reissues.

Psychedelic Lunch

New exponents of brutality Focal Dystonia will release their debut album Descending (In)Human Flesh through Comatose Music on December 11th.

From out of nowhere comes one of the most devastating brutal death metal assaults you will ever hear! Focal Dystonia’s debut album, Descending (In)Human Flesh is a terrifying tsunami of raging riffs and an unrelenting drum battery of staggering speed and heaviness. This is the sound of rage beyond control, of vengeance unleashed and opposition pulverised into non-existence. No more holding back in the face of slights and disrespect, just absolute bloody and beautiful annihilation!Focal Dystonia was created by multi-instrumentalist Floor van Kuijk (Korpse/Carnifloor) and drummer Florent Duployer (Anachronism/Kakothanasy) in early 2020. Due to their innate understanding of the essence of brutal death metal, the project progressed at hellish speed. Soon they had ten songs that epitomised the genre, in all its gaudy, violent extremes and next set about assembling an incredible line-up of international vocalists to give voice to their macabre creations. In total, twelve of the underground’s most renowned proponents of throat-ruining vocal savagery contributed to the recording of Descending (In)Human Flesh – an unprecedented collective of demonic vocalizing. For now these bestial names are being kept secret, to be revealed as the days and weeks pass and the December 11th release of Descending (In)Human Flesh grows nearer.

It is, of course, Comatose Music that will be responsible for spreading the plague of Focal Dystonia worldwide – no other label being equipped to handle such a diabolical expulsion of frenzied barbarity. Descending (In)Human Flesh is not just a masterful display of domineering power, it is also a horrifying love letter to the brutal death metal scene; everything that a dedicated fan could wish for in their warped dreams. Expect no mercy when this beast is unleashed!

You can experience the first explosive outpourings of Focal Dystonia at SLAM WORLDWIDE, where an exclusive premiere of the track ‘Pinnacle Of Deranged Euphoria‘ is available now:

For more information on Focal Dystonia click here
Visit Focal Dystonia on Facebook
Visit Comatose Music

Focal Dystonia – brutal death metal group with an international cast of vocalists – unleash debut, Descending (in)Human Flesh on Comatose Music!

L-R – Emiliano Cantiano (Drums) – Gabriele Giaccari (Guitars) – Davide Straccione (Vocals) – Matteo Capozucca (Bass) – Raffaele Colace (Guitars)
Photo Credit – Arianna Savo

Rome’s Shores of Null are releasing an ambitious and massive single “Beyond the Shores (On Death and Dying)” via Spikerot Records on November 27th, 2020

The single, while one complete work, can be divided into five separate movements, each one exploring one of the recognized stages of grief: denial, anger, bargaining, depression, and acceptance. This single is a partial deviation from the sound Shores of Null has been refining over the years as they enhance their heavier, slower, and dramatic elements to create their ultimate doom manifesto. In this dark venture, the band has involved a bunch of special guests, including two doom-titans such as Mikko Kotamäki (Swallow The Sun) and Thomas A. G. Jensen (Saturnus) plus the angelic voice of Elisabetta Marchetti (Inno).

The doom metal act has already released the first excerpt for listeners to immerse themselves with a three and half minute clip that shows various elements that this doom metal band has woven together to create a thick aura of forlorn melancholy.

Shores Of Null is a Rome-based metal band, an unwavering presence within the metal underground since their outset in 2013, able to churn out two impressive records: the highly acclaimed debut “Quiescence” (Candlelight, 2014) and the sophomore, more complex “Black Drapes For Tomorrow” (Candlelight/Spinefarm, 2017), both heavily praised by the worldwide press.

For fans of anything dark and dreary, especially those with an existing interest in Swallow The Sun, My Dying Bride, and Paradise Lost; “Beyond the Shores (Excerpt I)” was released on October 2, 2020 and can be heard on the following links:

The full release of “Beyond the Shores (On Death and Dying)” will be available on November 27th, 2020.
Album (CD, Vinyl, Digital) pre-order / save HERE.

Video Trailer for “Beyond the Shores (On Death and Dying)”YouTube

Track Listing:
1. Beyond The Shores (On Death And Dying) [38:24]

Single Credits:
• All songs performed by: Shores Of Null
• All songs written by: Gabriele Giaccari and Raffaele Colace, lyrics and vocal arrangements by Davide Straccione
• Produced by: Shores Of Null and Marco “Cinghio” Mastrobuono
• Mixed by: Marco “Cinghio” Mastrobuono
• Mastered by: Marco “Cinghio” Mastrobuono
• Album Artwork by: Sabrina Carmanico
• Member of SIAE (Italy)

Single and Live Band Line Up:
Davide Straccione – Vocals
Gabriele Giaccari – Guitars
Raffaele Colace – Guitars
Matteo Capozucca – Bass
Emiliano Cantiano – Drums

For more info:


Shores Of Null is a Rome-based metal band, an unwavering presence within the metal underground since their musical outset in 2013. They have churned out two impressive records: the melodic and somber  “Quiescence” (Candlelight, 2014) and the darker and more complex “Black Drapes For Tomorrow” (Candlelight/Spinefarm, 2017), both of which were highly praised by the worldwide music press.

Shores of Null stands out from its contemporaries with its ability to blend seemingly disparate elements and their ability to sound overwhelmingly heavy and soothing at the same time. Blackened aggression stands alongside gothic-doom sections without either sounding out of place. Their music can be both melancholic yet majestic, made of chorale-like guitar textures across the instrument’s entire range, sustained by a powerful rhythmic section and punctuated by a refined mixture of clean and growled vocals, along with extensive use of pleasing vocal harmonies which have become the band’s trademark through the years.

Shores Of Null has performed over 150 shows, including six European tours (with In The Woods, Ereb Altor, Hooded Menace, Mourning Beloveth, Novembre, Harakiri For The Sky, Sylvaine, and more), dozens of shows and tours in their home country (with Primordial, Arcturus, Candlemass, Moonsorrow, Leprous, Saturnus, Negura Bunget, etc.) and many European Festivals (Inferno Festival, Eindhoven Metal Meeting, Winter Days Of Metal, Doom Over London, Metalitalia Fest, Frantic Fest, and more). 

Shores Of Null’s third work, “Beyond The Shores (On Death And Dying),” is expected to be released in November 2020 via Spikerot Records, continuing to prove the band’s willingness to go off the beaten path and create their ultimate doom manifesto, a 38 minute-long suite emphasizing their heavier, slower and dramatic side, inspired by the five stages of grief formulated by the Swiss-American psychiatrist Elisabeth Kübler-Ross. The band has collaborated on the dark opus with many special guests, including two doom-titans, Mikko Kotamäki (Swallow The Sun) and Thomas A.G. Jensen (Saturnus), along with the angelic voice of Elisabetta Marchetti (Inno). The band is able to present an even more diverse and eclectic sound on the album thanks to the addition of classical instruments like piano and violin, along with the return of the talented Marco “Cinghio” Mastrobuono (Hour Of Penance, Fleshgod Apocalypse) behind the production desk.

Surrender To Grief With Shores of Null’s Doom Manifesto “Beyond the Shores (On Death and Dying)

L – R: Ira Lehtovaara (Guitar) | Kevin Withers (Drums) | Brandon Sanders (Bass) | Gabe Rosa (Guitar) | Angelo Bonaccorso (Vocals)
Photo Credit – Wesley Raffan

Death/thrash outfit RAIDER, hailing from Waterloo, Canada unleashed their debut album “Guardian of The Fire” this past March. The eight-track LP is a rush of E-standard mayhem, thrash overtones, and blackened vocals. Lyrically, the album’s theme revolves around overcoming lies and hatred that stand between all of us and the truth. 

Fans of bands of Sepultura, Annihilator, and Skeletonwitch, RAIDER is one of the underground death/thrash bands to keep an eye on in 2020 as they continue to raise hell in the moshpit. 

Earlier in September, the band shared their latest music video “No Sign of The Dawn”, a groovy thrash attack about the cost of taking our world for granted. It’s a reflection on getting human priorities straight.

The band adding:

“Our world stands on the edge of a knife. The virus is but another horseman in the ever-growing mountain of omens. We often get distracted and seem to forget that we are still on our way to one of many total deliverances. We have to unite, think, and speak for ourselves or we will be spoken for. If we do not choose the path that leads us to a better future, we will be forced down a path to ruin, of which there are many, and each of their songs remains the same: For the mortal world there is no sign of the dawn.”

Today, the band reveals their guitar playthrough with visual tabs for the track, which can be viewed via its premiere on TechnicalMusicReview HERE

Guitarists Ira Lehtovaara and Gabe Rosa comment on the playthrough:

“Thanks to everyone who has been cranking the No Sign of the Dawn music video and supporting us in general! We wanted to do something nice in order to show our gratitude so here’s a guitar playthrough for the song with Tabs! If you wanna see more playthroughs for more songs make sure to comment, like, and subscribe!”

Watch the music video for “No Sign of The Dawn” HERE.

“Guardian of The Fire'” is available on Bandcamp, Spotify, Apple Music.
Lyric Video ‘Guardian of The Fire’ HERE.
Music Video ‘Bound By No Fate’ HERE.
Lyric video ‘Ravenous Hydra’HERE.

Track Listing:
1. Bound By No Fate (5:00)
2. No Sign Of The Dawn (6:04)
3. Endless Vengeance (6:16)
4. Guardian of The Fire (6:48)
5. Infernal Justice (6:03)
6. Ravenous Hydra (5:28)
7. Offering of Souls (6:15)
8. Destroyer (5:51)
Album Length: 47:49

For more info:

“”Bound By No Fate” itself is an unrelenting and chaotic blast of thrash. Even someone who’s not primarily a fan of the harsher vocal style prevalent within death metal should be able to appreciate and get into the new Raider track and upcoming album.” – Metal Injection“Raider pillage the best of death and thrash for their own blazing (yet fun) fury on debut LP Guardian of the Fire, out March 20. Despite only forming in 2017, the Waterloo quintet sound export-ready, and not just to nearby markets but even to the far reaches of Europe, from which many of their influences hail.” – Exclaim! 8 Emerging Canadian Artists You Should Hear in March 2020

“I think RAIDER is one of the best of the new breed of bands who are playing this style of metal today and “Guardians of the Fire” is well worth your time.” – Metal Temple

“In the end, these eight tracks combine influences from their domestic Canadian roots as well as American finesse and aggression to illustrate the power, precision, and musicianship that keep Raider in league with acts like Annihilator, Exmortus, and Skeletonwitch as far as melodies, hooks, and darkened, savage attacking mechanisms.” – Dead Rhetoric

“GUARDIAN OF THE FIRE is a non-stop hell-storm of pummeling death infused thrash. The album is full of technical riffing and some insanely powerful drumming. Raider has enough ability here to deliver up some of the best riffs in the business with a proficiency that many may possess, but rarely offer up to the masses… Fans of Exodus, Lamb Of God, Exmortus, and Deicide, among others, will find that they are going to have another favorite band to slam to!” – Metal Rules

“Canada is doing great in the thrash stakes this year, what with Warning Sign, Lutharö, Annihilator and plenty more all releasing ‘great’ to ‘phenomenal’ albums. Now the relentless machine of Raider has joined the ranks of great Canadian metal in 2020 to utterly punish and pummel the competition. Guardian Of The Fire is as high quality a debut anyone could possibly ask for, and this quintet look set to burn the world – one Ravenous Hydra at a time.” – Metal Observer

Canada’s RAIDER Teach Thrasher Fans To Shred Along To “No Sign of The Dawn” Guitar Playthrough w/ Ta

Photo: L-R Sacha Laskow (Guitar & Programming) | Jerrod Maxwell-Lyster (Vocals) | Brent Stutsky (Bass) Photo Edit: Empirius

Canada’s Every Hour Kills will “Re:Awaken” the world with their new EP out Now. Each song on the record tells the story of an individual existing in this fragmented future; their struggle to exist amidst the chaos of forces of the elite race and the constant encroaching tide of technology.

The band adds:

“Every Hour Kills was built to challenge the idea of what defines a “band”. Rather, the group sees itself as a constantly evolving musical collective; guest vocalists and soloists across the songs bring their own unique artistry and elevate the collective impact of Every Hour Kills’ brand. With every release we are trying to push ourselves technically, in the writing, and thematically. The listening experience is meant to smash together progressive metal with a cinematic film score. There are literally hundreds of tracks of synth and orchestration going on underneath the metal-band foundation; so, each listen should uncover a new tidbit of ear candy and layers, especially with headphones or good speakers!”

“Re:Awaken” is a concept album with a rich and colourful story that plays into the lore of Every Hour Kills. It sends the listener into the 22nd century, where humanity is deteriorating and the only help seems to come from a race of aliens, the Illusions. Their proposition was simple: in exchange for children who had not yet been consumed by the plague, they would give us medicine to heal the sick.

As an internet-only project, Every Hour Kills leverages this sole focus in bringing in a wide variety of guest artists that include Shaley Bourget of (Dayshell, ex-Of Mice & Men), Morgan Reid (Bloodshot Dawn), Chris Thoresen (Shark Infested Daughters), Travis Montgomery (Threat Signal, Meytal), and Rick Graham. The EP also comes with a visual storybook from Splice Comics that supplement the themes of the band.

Geared towards fans of sci-fi, djent, and progressive metal, especially those with Scar Symmetry, Starset, and Bring Me the Horizon in their rotation, “Re:Awaken” comes out on October 9, 2020. EP Pre-Save HERE (Spotify, Bandcamp, Apple Music).

Previous singles:
“Veiled Aurora” – YouTube
“Time”ft. guest guitar solo Rick Graham (Joe Satriani cover) – YouTube
“Athelion” – YouTube (Lyric Video)
“Re:Awaken” – YouTube (Animated Music Video)

Track Listing:
1. Veiled Aurora (ft. guest vocals Shaley Bourget of Dayshell, Of Mice & Men & guest guitar solo Morgan Reid of Bloodshot Dawn) (4:18)
2. Anthelion (ft. guest vocals Chris Thoresen (Shark Infested Daughters & guest guitar solo Travis Montgomery of Threat Signal, Meytal) (4:26)
3. Re:awaken (4:12)
4. Time ft. guest guitar solo Rick Graham (Joe Satriani cover) (5:04)
5. Veiled Aurora (Instrumental) (4:18)
6. Anthelion (Instrumental) (4:26)
7. Re:awaken (Instrumental) (4:12)
8.  Time (Joe Satriani cover) (Instrumental) (5:04)

More info:


“Every hour wounds, but the last one kills” – Anonymous

Every Hour Kills is a powerhouse ensemble featuring the core of ex-Divinity / Enditol guitarist Sacha Laskow, bassist Brent Stutsky (ex-Breach of Trust), along with vocalist Jerrod Maxwell-Lyster (ex-Out of Your Mouth).

The new EP titled ‘Re:Awaken’ out now tells the stories of individuals existing in this fragmented future; their struggle to exist amidst the chaos of forces of the elite race and the constant encroaching tide of technology. An accompanying illustrated short storybook by Splice Comics will delve even deeper into the EHK lore.

Every Hour Kills was built to challenge the idea of what defines a “band”. Rather, the group sees itself as a constantly evolving musical collective; guest vocalists and soloists across the songs bring their own unique artistry and elevate the collective impact of Every Hour Kills’ brand. The lyrics, artwork, visuals, and themes all look toward the future, asking the key postmodern question of how will emerging technology and our humanity progress and co-exist?

Shared Stage with: Godsmack, Apocalyptica, Trivium, Obey the Brave, Into Eternity, Kobra and the Lotus

Endorsed by: Fractal Audio, Bareknuckle Pickups, Toontrack

Nominated YYC Music Award – 2016, 2019 for Metal Recording of The Year

“The band plays a sound of metal sounds extremely modern and melodic, coming across as a mix of Scar Symmetry and Fear Factory, with sprinkles of djent for added flair.” – New Noise Magazine

“Should the band be able to hold this standard on their first full-length album, one has to count on Every Hour Kills in the first league of Modern Metal. CrypticRock gives Every Hour Kills 4.5 out of 5 stars.”

“The song has an amazing feel to it that is uplifting and empowering at the same time and it makes you feel like could run a marathon and finish first place. “ – Headbanger Review

Every Hour Kills “Re:Awaken” The World With New EP


Los Angeles, CA (October 7, 2020)—Craft Recordings announces its exciting line-up of exclusive titles for Record Store Day’s tenth annual Black Friday event, taking place at independent record stores across the country on Friday, November 27th. This year’s sonically diverse selections include two live albums: the first-ever release of Jewel’s early coffeehouse sessions, Live at the Inner Change, and George Thorogood and The Destroyers’ blistering Live in Boston, 1982: The Complete Concert. Also available is a tenth-anniversary reissue of Meridional from Georgia metalcore stars Norma Jean, as well as the latest installment of the popular Jazz Dispensary series, Orange Sunset, which features choice funk, soul, and jazz cuts. Rounding out the titles is a 7” of “Christmas Time Is Here” from Vince Guaraldi’s A Charlie Brown Christmas to kick off the holiday season.
Since 2008, Record Store Day has championed the culture of the independent record store, offering music lovers the chance to pick up exclusive releases and support their local music retailer at the same time. Record Store Day’s Black Friday is no exception, and now—more than ever—is the perfect time to show love to our local independent retailers and our favorite musicians. While the day after Thanksgiving is the start of the biggest shopping season in the country, this special event subverts the mass consumerism model—instead, placing the focus on creating special limited-edition releases from revered musical artists. For a full list of participating retailers, visit RecordStoredDay.com.

Jewel — Live at the Inner Change

(2 LPs, Individually Numbered with Keepsake Show Flyer)
As Jewel celebrates the 25th anniversary of her landmark 12x Platinum debut, Pieces of You, this previously unreleased live performance from 1994 offers fans a chance to hear the GRAMMY® Award-nominated singer-songwriter nearly two years before she became an international sensation.

These captivating, formative performances were recorded at San Diego’s Inner Change coffeehouse, where the promising young artist honed her craft, and later, was discovered.
In the liner notes for a forthcoming Pieces of You 25th-anniversary reissue, Inner Change owner Nancy Porter recalls, “This is where she really built herself, developed her music, and I think everyone felt that. And the bigger the crowd got, the better she got…People would come in and just be in awe.”
The two-LP set features remastered audio from the legendary engineer Bernie Grundman and includes early versions of such favorites as “Morning Song,” “I’m Sensitive,” and Jewel’s debut hit single, “Who Will Save Your Soul.” Limited to 3,000 copies worldwide, each individually numbered album includes a replica of the original show flyer, designed by Jewel herself.

Tracklist – Live at the Inner Change:

Side A

1. Who Will Save Your Soul

2. Pieces of You

3. Little Sister

Side B

1. Near You Always

2. Painters

3. Morning Song

Side C

1. Adrian

2. I’m Sensitive

3. Don’t

Side D

1. Daddy

2. Angel Standing By

3. Amen

George Thorogood and The Destroyers — Live in Boston, 1982:

The Complete Concert (4 LPs, Red-Marbled Vinyl with Poster)
This comprehensive reissue of George Thorogood and The Destroyers’ Live in Boston, 1982 captures the band’s triumphant Bradford Ballroom concert in its entirety for the very first time.

Full of energy, power, and focus, Thorogood and The Destroyers play a blistering set that includes such classics as “Bad to the Bone,” “Who Do You Love?” and “Move It on Over.” Newly remastered by the GRAMMY® Award-winning engineer Paul Blakemore, the 27-track Live in Boston, 1982: The Complete Concert adds 12 previously unreleased tracks to the original 2010 release.
“1982 was an absolute high-water mark for us,” exclaims Thorogood, whose band had recently scored a supporting slot on the Rolling Stones’ tour, performed on Saturday Night Live, and released their fifth studio album. “Everything was going our way and it shows in this recording… This is George Thorogood and The Destroyers at our best!”
Limited to just 1,800 copies, this special Black Friday edition comes pressed on four red-marbled vinyl LPs and includes new liner notes, plus an eye-catching poster.

Tracklist – Live in Boston, 1982: The Complete Concert:

Side A

1. House of Blue Lights

2. Kids from Philly

3. Who Do You Love?*

Side B

1. I’m Wanted

2. Cocaine Blues*

3. One Way Ticket

Side C

1. One Bourbon, One Scotch, One Beer

2. As the Years Go Passing By

Side D

1. Spoken Introduction: The Dance Floor*

2. It Wasn’t Me

3. Bottom of The Sea*

4. Night Time*

Side E

1. New Boogie Chillun’

2. I’ll Change My Style*

3. Miss Luann

Side F

1. Madison Blues*

2. The Sky Is Crying*

3. Can’t Stop Lovin’

Side G

1. Spoken Introduction: Audience Participation*

2. Same Thing*

3. Bad to the Bone*

4. Move It on Over

5. Wild Weekend6. Nobody but Me

Side H

1. No Particular Place to Go*

2. Ride on Josephine*

3. Reelin’ and Rockin’*
* Previously unreleased

Norma Jean — Meridional (2 LPs, Turquoise Marble Vinyl):

2010’s Meridional is the fifth studio album from the GRAMMY®-nominated metalcore band,Norma Jean, and marked the Georgia band’s debut with Razor & Tie. Produced by Jeremy SH Griffith (Underøath, Johnnyswim, Five Iron Frenzy), Meridional—which features such fan favorites as “Leaderless and Self Enlisted” and “Deathbed Atheist”—received wide praise from the likes of Revolver, AbsolutePunk, and Exclaim!, which ranked the LP among one of the best metal albums of the year.

MAllMusic, meanwhile, praised that Meridional shows “a band that has really hit its stride creatively, taking the techniques it has developed and putting them all together into one enjoyable package.” Limited to 3,400 copies, this special tenth-anniversary reissue comes as a two-LP set pressed on turquoise marble vinyl.

Tracklist – Meridional:

Side A:

1. Leaderless and Self Enlisted

2. The Anthem of The Angry Brides 3. Deathbed Atheist

4. Bastardizer

Side B:

1. A Media Friendly Turn for The Worse

2. Septentrional

3. Blood Burner

4. High Noise Low Output

Side C:

1. Falling from the Sky: Day Seven 2. Everlasting Tapeworm

3. Occidental

Side D:

1. The People That Surround You on a Regular Basis

2. Innocent Bystanders United

3. Oriental

Vince Guaraldi Trio — “Christmas Time Is Here” (7” Single, Green Vinyl)
Vince Guaraldi’s timeless score for the 1965 television special, A Chalrlie Brown Christmas, endures as one of the most popular holiday albums ever and one of the best-selling jazz records in history. The soundtrack, which introduced generations of children to the joys of jazz music, features a mix of traditional yuletide fare—arranged in Guaraldi’s playful style, plus originals, like the instantly recognizable “Linus and Lucy,” and “Christmas Time Is Here.” The latter song, now a holiday standard, was the only vocal track on the album, featuring young choir members from the Bay Area’s St. Paul’s Episcopal Church. Now, for the very first time, a 7” single of the song will be available, featuring the original vocal version on side A, with an alternate vocal take on side B.

Released in conjunction with the 70th anniversary of Peanuts, this collectible single is pressed on green vinyl and will be limited to 5,000 copies.

Tracklist – Christmas Time Is Here:

Side A

1. Christmas Time Is Here (Vocal)

Side B

1. Christmas Time Is Here (Alternate Vocal Take 5)

Various Artists — Jazz Dispensary: Orange Sunset (1 LP, Yellow Starburst Vinyl)
Take a trip to a land where every hour is happy and the sunsets are always lush in Orange Sunset—the latest addition to the popular Jazz Dispensary series. Kick back with a perfect soundtrack of impeccably crafted grooves from the likes of Merl Saunders, Johnny Hammond, Funk, Inc. and The Blackbyrds, with production by David Axelrod, The Mizell Brothers, and Dale Warren. All tracks were remastered from their original analog tapes, while the album comes pressed on fanciful, yellow starburst-colored vinyl. Limited to 3,500 copies, Orange Sunset comes housed in a jacket featuring original designs by singer-songwriter and visual artist Dana Falconberry.

Tracklist – Orange Sunset:

Side A:

1. David Axelrod — Everything Counts

2. The Blackbyrds — Funky Junkie

3. Johnny Hammond — Shifting Gears

Side B:

1. Roger Glenn — Don’t Leave

2. 24-Carat Black — 24-Carat Black (Theme)

3. Merl Saunders — Righteousness4. Funk, Inc. — Goodbye, So Long

About Craft RecordingsCraft Recordings is home to one of the largest and most prestigious collections of master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Joan Baez, Ray Charles, John Coltrane, Creedence Clearwater Revival, Miles Davis, Bill Evans, Vince Guaraldi, John Lee Hooker, Little Richard, Nine Inch Nails, Thelonious Monk, Otis Redding, R.E.M. and Traveling Wilburys, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Concord, Fania, Fantasy, Fearless, Milestone, Musart, Nitro, Prestige, Riverside, Rounder, Specialty, Stax, Sugar Hill, Vanguard, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft Recordings is the catalog label team for Concord Recorded Music.

For more info, visit CraftRecordings.com and follow on Facebook, Twitter, Instagram, YouTube, and Spotify.

Craft Recordings announces exclusive releases for RSD Black Friday event