Arizona newcomers GATECREEPER deliver 9 monstrous songs of low-end, old-school death metal on their savage debut album Sonoran Depravation. Having devastated the underground since their formation less than three years ago, GATECREEPER now unleash their first full-length, produced by Ryan Bram at Homewrecker Studios and mixed by Kurt Ballou (Converge, Nails, Black Breath) at GodCity Studios. Sonoran Depravation tears and chugs through 30+ minutes of crusty, doom-soaked death metal at its most infectious and uncompromising with a massive sound that calls to mind the classic Swedish buzz-saw attack of Dismember and Grave mixed with the impeccable groove of Obituary and Bolt Thrower. GATECREEPER are here to carry the death metal torch for a new generation and will shake your foundation to its core.

This World Is Going To Ruin You. Engineered and produced with Grammy winning producer Will Putney of Graphic Nature Audio in April 2020, just weeks into a global shutdown, to create the bands latest twelve track full length album. Featuring guest appearances from artists Geoff Rickly, Jeff Smith and Bones, as well as the original artwork and typography of Autumn Morgan. Packaged in a gatefold LP jacket, accompanied with a full color 12”x12” full color 24 page booklet and 24”x36” poster, digital download code and deluxe colored vinyl. While the bands 2018 full length debut Errorzone received praise from Pitchfork stating “sets the tone for one of the year’s most exhilarating heavy records.,” This World Is Going To Ruin You will be hailed as its own formidable beast. “Every release is like its own universe,” the band explains. “On Errorzone, we made a departure into another universe, sonically and visually. It was very futuristic and hi-energy and there were lots of elements we tapped into in order to fulfill our vision of that universe.” In that sense, This World Is Going To Ruin You is not a return to the band’s roots so much as a more fully realized version of them.“But it’s not a contrived nostalgia trip. We’re just naturally taking that part of the band to a fuller potential.” vocalist Anthony DiDio explains. “Errorzone was entering another world, while this record is Vein.fm coming home”. Lyrically, This World Is Going To Ruin You describes the human condition through a birth-to-death timeline. “I was coming from a very anti-social mentality,” DiDio explains.“I want people to completely disconnect and have their own personal journey through this album” This album is available outside of North America from Nuclear Blast Records

Vinyl Full color LP jacket printed on 400 GSM stock with matte finish and spot gold foil printing Full color double-sided insert Assembled in a Poly Bag with vinyl outside of the jacket CD Jewel case housed in a full color o-card Full color insert and traycard 3 color spot printing on the CD face Born out of Hudson Valley's ever-evolving scene in 2018, Age of Apocalypse has proven themselves to be the next evolutionary step in bringing metallic hardcore with sung vocals to a modern era. The band is set to release their second full-length LP In Oblivion through Closed Casket Activities, due out May 23rd. The record takes everything that caught the world's attention on 2022’s Grim Wisdom and triples down on it all, showing their penchant for writing genuinely huge metallic hardcore epics without eschewing any of the frenetic energy inherent to the genre. In Oblivion was produced by Taylor Young (Twitching Tongues, God's Hate) and partially recorded at The Pit. Young's work both as a musician and his clear history in playing hardcore centered around clean singing comes out in spades, as In Oblivion manages to help progress this dynamic into a new era. The record features guest appearances from Colin Young (Twitching Tongues, Holy Blade), Shaun Alexander (Demonstration of Power), and Graham Sayle (High Vis), marking the first time the band has incorporated guest vocals on a release. Singer Dylan Kaplowitz has truly come into his own as a frontman as his voice soars to operatic heights in one moment, crashing down to hellish lows in screaming the next. Opener "Mortal Coil" shows Kaplowitz standing comfortably next to what Steele, Caputo and Jenkins were doing in the 90s, while bringing his own flair and emotive ability to the forefront. The rest of the band flourishes equally, as Jack Xiques' riffs blend together everything from Stigmata, Section 8, Randy Rhoads and Paul Gilbert into a singular, thrilling sound. While many have tried and failed to bridge the gap between clean vocals and hardcore, Age of Apocalypse have taken the throne as modern masters of the sound. Having already played with the likes of Sunami, Mindforce, High Vis, Indecision, Earth Crisis and more, 2025 will prove Age of Apocalypse is here, and there's no end in sight.

Note: CD is shipping now Second press vinyl will begin shipping on March 28th Cloakroom released their last album “Dissolution Wave” into the world on January 28th, 2022, commemorating their 10th anniversary as a band. The trio spent the months that followed embarking on a number of tours, growing together as a cohesive unit and pushing the boundaries of what could be accomplished in a short amount of time together. At one point, the troupe traveled from Chicago to Salt Lake City and back in a mere six days, playing six shows in the process and traveling no less than 600 miles a day. As the calendar flipped to 2024, Cloakroom launched on their most ambitious schedule to date, playing 27 shows across Europe in just over four weeks time. While this is being written, the band is resting their bones after a 34 date North American run that was completed in 37 days. By their own standards, their new album ‘Last Leg of the Human Table’ is a couple of years early. After an upstate New York evening spent with Closed Casket Activities owner Justin Louden, the group agreed upon a deal to work together with the label on their next LP. Initially setting out to test the waters with a four-song EP, Cloakroom booked three days at the famed Electrical Audio studio in Chicago in December of 2023 and set out to write a batch of new material. The composing sessions between singer/guitar player Doyle Martin and bass player Bobby Markos proved more fruitful than expected though, and soon the band was faced with the dilemma of picking which songs to include on an abbreviated release and which to save for the future long play. No doubt inspired by their hectic touring schedules, Cloakroom decided to set out on tracking an entire LP in the three days of booked studio time while on the way to Chicago. After a few long nights of rehearsing and writing with drummer Timothy Remis, the group entered the house that Albini built with longtime collaborator and engineer Zac Montez to begin tracking the ten song effort. Through a rigorous work schedule over the next 72 hours, the band was able to capture the skeleton of the album before driving to Kalamazoo, Michigan and Fort Wayne, Indiana for a couple of end of the year gigs. The band would round out the week by spending some time at Rec Room Studios in Palos Hills, Illinois to lay down some overdubs and further complete the record. “Last Leg of the Human Table” is not a post-apocalyptic record or a work of science fiction like Cloakroom’s previous LP. If Dissolution Wave was a space western following an asteroid miner protagonist, Last Leg brings the observer back to Earth where most things are not as they’re cracked up to be. For Cloakroom the world of modernity is in polycrisis and America has lost its soul. Narrative fetishism is all too usual of a literary mechanism for Cloakroom. If you listen closely you can hear the concern; not just for the teetering social structure but for what it means to be human and the high cost of the human experience. T.S Eliot’s ominous “not with a bang but a whimper” has gotten a lot of traction in a post-pandemic world, maybe even too much one could say. That whimper is just tinnitus to Cloakroom; here is the sound of a furnace that can’t stop running. That tonal resonance plays in-between songs on Volume 4 of the band’s discography. Recorded at Chicago’s staple Electrical Audio, there could not be more of a hallowed space to capture this body of work. Every song is a different sound working together to showcase Cloakroom’s genre-bending capabilities and seemingly vast array of influences; whether it be the sampling of the post-disco Detroit group Was (Not Was) or the lifted NASA recording of the humming of Saturn’s rings. Engineer Zac Montez (Whirr, Turnover) whom the band has referred to as an integral part of the band once again aided in smoothing out the rough parts and turning up the quiet. The album is truly sonically inspiring. Shoegaze, doom, post-punk, folk just scratch the surface on the band’s shortest yet seemingly most substantial release to date. “Last

Vinyl comes packaged in an full color LP jacket complimented with UV spot varnish printing, full color insert and an 18"x24" full color double sided poster. Fleshwater paint in broad strokes of alternative, shoegaze, electronic, post-hardcore, and off-kilter pop splashed against a tight sonic canvas awash in vibrant colors and visceral textures. Their songs unfurl with all the unpredictability of a living entity (and you can never quite put a finger on where they’ll go next). The moment you press play, it’s as if they appear in a rush of emotion, only to disappear back into a ghostly ether once the record stops.As such, the Lowell, MA quartet—Anthony DiDio [vocals, guitar], Marisa Shirar [vocals], Matt Wood [drums], and Jeremy Martin [bass]—balance the intimate inhale of male-female harmonies with an overpowering exhale of distortion.Now, they materialize in 2022 with nine songs on their full-length debut, We’re Not Here To Be Loved [Closed Casket Activities].“It’s ambiguous,” notes Anthony. “It’s like the music is attached to the mood rather than lumped into a genre. There are so many different elements. Fleshwater is never one thing.” The band quietly emerged in 2020 with Demo. “Linda Claire” amassed 1.3 million Spotify streams under the radar, while Stereogum hailed the three-song set as “a cool piece of hazy guitar-trudge music.” Along the way, the musicians wrote what would become We’re Not Here To Be Loved and self-produced the album with Kurt Ballou [Converge] recording them. The band mined a kaleidoscope of influences, ranging from Hum, Deftones, Sunny Day Real Estate, and Far to Björk, and they ultimately arrived at an ethereal signature style of their own punctuated by gnashing grooves and anesthetizingly gorgeous vocal conjurations.Barely cracking the one-minute mark, the single “Kiss The Ladder” pulsates with glowing guitar and Marisa’s hypnotic chant, “Now I don’t want to be anyone.” “Backstairs Breathing” begins with creaky clean guitar and melodic verses from Anthony. It gives way to an urgent refrain as both voices entwine, “Become a memory next to me.” A snappy distorted rumble underlines the insidiously catchy “The Razor’s Apple” catalyzed by Marisa’s gauzy, yet guttural delivery. It spirals past a head-nodding drum breakdown on the back of knife-point precise riffing. “It’s my favorite vocal performance by Marisa,” he adds. “We’re definitely excited to play it live." Crossing the five-minute mark, “Foreign” leans into a punchy riff as Marisa and Anthony lock into one last cathartic call-and-response on the chorus.”In the end, Fleshwater are unlike anything you’ve ever heard—and it’s why the experience of listening to them will belong to you alone. “I want people to have their own experience with Fleshwater’s music and let it take them for a ride,” Anthony leaves off.

HARDGORE DEATHMETAL the debut EP from Houston, Texas' Corpse Pile.FYLTracklistingEvery Dog Gets Put DownForce Fed LeadRealityWhere the Sidewalk EndsFuck Your LifeVinyl B sideBeaten Into A Seizure *Every Dog Gets Put Down *Razorwire Cock Ring **Secondhand Crack High *** from the Corpse Pile Demo** from the split with Snuffed on Sight, Tales From the Gutter