FullxXxAlbums

Crossed Out – Crossed Out Label: Slap A Ham Records – #9 Format: Vinyl, 7", 33 ⅓ RPM Country: US Released: 1991 Genre: Rock Style: Power Violence Stumpbaby Side A1 Internal A2 He-Man A3 Locked In A4 Fraud Tall Side B1 Crown Of Thorns B2 Force Of Habit B3 Crutch Recorded At – 8 Mastered At – Greg Lee Processing – L-38955 Recorded By – Alan Vangundy Recorded on September 28th, 1991. Printed lyric insert included. Folded sleeve. Pressing info: 1 unique press of 1000 copies. Huge gaps between the songs. That's also the trademark to recognize an original copy. Bootlegs don't have the soundgaps. Track order is wrong on the insert, tracks A3 'Locked In' and A4 'Fraud' are switched, corrected here (Stumpbaby Side). Matrix / Runout (Side A, etched): SLAP A HAM - 9 - A L-38955 Matrix / Runout (Side B, etched): SLAP A HAM # 9 - B L-38955-X

Label: Misanthropy Records – none, Cymophane Productions – none Format: CD, Album, Promo Country: UK Released: 1996 Genre: Electronic, Rock Style: Black Metal, Ambient 1 Dunkelheit 2 Jesus' Tod 3 Erblicket Die Töchter Des Firmaments 4 Gebrechlichkeit I 5 Rundgang Um Die Transzendentale Säule Der Singularität 6 Gebrechlichkeit II Released in a cardboard sleeve with different cover. Very rare.

Between The Buried And Me – The Silent Circus Between The Buried And Me - The Silent Circus album cover More images Label: Victory Records – VR210 Format: 2 x Vinyl, LP, Album, Limited Edition, Repress, White Country: US Released: 2014 Genre: Rock Style: Hardcore, Experimental A1 Lost Perfection A) Coulrophobia A2 B) Anablephobia A3 Camilla Rhodes B4 Mordecai B5 Reaction B6 (Shevanel Take 2) C7 Ad A Dglgmut C8 Destructo Spin D9 Aesthetic D10 The Need For Repetition Phonographic Copyright ℗ – Victory Records Copyright © – Another Victory Inc. Recorded At – Q Division Studios Mixed At – Q Division Studios Mastered At – West West Side Music Pressed By – Rainbo Records – S-78103 Pressed By – Rainbo Records – S-78104 Pressed By – Rainbo Records – S-78105 Pressed By – Rainbo Records – S-78106 Design – Drew Tyndell Edited By – Matt Beaudoin Engineer [Assistant] – Matt Beaudoin, Seth Davis (4) Mastered By – Alan Douches Performer [Between The Buried And Me] – Jason Schofield King, Mark Edward Castillo, Nicholas Shawn Fletcher, Paul Andrew Waggoner*, Thomas Giles Rogers Jr. Producer – Between The Buried And Me, Matthew Ellard Recorded By, Mixed By – Matthew Ellard Technician [Drums] – Carl Plaster 332 copies pressed on white vinyl. Comes in a gatefold jacket with printed lyrics and a download code. Tracks are listed sequentially regardless of side. Recorded and mixed at Q Division Studios, Somerville, MA. Mastered at West West Side, NJ.

Colors is the fourth studio album by American progressive metalcore band Between the Buried and Me, released on September 18, 2007 through Victory Records. Although separated in 8 tracks, Colors gives the impression of one continuous song, with transitions between each part. The album was remixed and remastered in 2020. In August 2021, the band released a sequel to Colors, titled Colors II.[1] Overview Colors was recorded in April through May 2007 at the Basement Studios with Jamie King as the chosen producer for it. Prior to its release, it received great praise and sold 12,600 copies in its first week of release, reaching 57th on the Billboard 200, which was the first time the band reached the top 100 on the list.[2] Mike Portnoy, formerly of Dream Theater, one of Between the Buried and Me's main influences, named Colors his favorite album of the year. PopMatters wrote, "A true marvel, this challenging but ultimately highly rewarding album is an example of a young band just discovering what it’s capable of. At the rate they’re going, the modern metal pantheon awaits," while Ultimate Guitar also named it "Best Album of the Year" in their annual This Year in Metal.[3] A live DVD, titled Colors Live, was released on October 14, 2008 and includes footage from a live show on August 2, 2008 at Rocketown in Nashville, Tennessee. The song "Prequel to the Sequel" is featured as downloadable content for the video game, Rock Band 2, though it is the radio edited version of the song, shortened to five minutes, leaving the polka verse and everything after missing.[4] In May 2017, Between the Buried and Me announced a 10th anniversary tour of the album with The Contortionist, Polyphia, and Toothgrinder.[5] Music The band described the album as "adult contemporary progressive death metal".[6][7] Dave Donnelly of AllMusic described the music of Colors as being "an anomaly on the otherwise more conservative, pop-punk and hardcore oriented Victory Records label" noting that the group "play a progressive style of extreme metal" which incorporated a range of styles.[8] Loudwire commented about the song "Ants of the Sky": "The 13-minute track weaves in and out of demented carnival metal, psychedelic solos, smooth jazz guitar, space rock and a goddamn country hoedown… not to mention the most tear-jerkingly beautiful solo of Paul Waggoner’s career."[9] Promotion Two weeks before the release of Colors, the band released a series of videos for the songs. The videos consisted of clips from classic films, and each video was shown for one day before being removed. The videos were designated different colors to coincide with the album's theme, although having no known relation to the lyrics: "Foam Born (a) The Backtrack" and "(b) The Decade of Statues" – orange "Informal Gluttony" – green "Sun of Nothing" – yellow "Ants of the Sky" – red "Prequel to the Sequel" – aqua "Viridian" – blue "White Walls" – purple Reception Professional ratings Review scores Source Rating About.com [10] AllMusic [8] Alternative Press [11] Blabbermouth.net 9/10[12] Exclaim! (highly favorable)[13] PopMatters 8/10[14] Punknews.org [15] Rock Hard 7/10[16] Sputnikmusic [17] Ultimate Guitar (9.7/10)[18] In 2014, Prog put Colors at #45 on their "Top 100 Greatest Prog Albums Of All Time" list commenting that "Between The Buried And Me found their range and musical mobility here. Aside from metal, it has influences from jazz and pop. It’s an album that encompasses differing styles but has an irresistible dynamic."[19] Loudwire placed the album at #7 on their "Top 100 Hard Rock and Heavy Metal Albums of the 21st Century" list, saying that it was "nothing less than a complete metamorphosis of progressive metal."[20] Kerrang named the album in their list "The 21 Best U.S. Metalcore Albums Of All Time."[6] Loudwire named it at fifth in their list "Top 25 Progressive Metal Albums of All Time."[21] ThoughtCo also named Colors in their list "Essential Progressive Metal Albums."[22] Track listing All lyrics are written by Tommy Rogers; all music is composed by Between the Buried and Me No. Title Length 1. "Foam Born (A) The Backtrack" 2:14 2. "(B) The Decade of Statues" 5:21 3. "Informal Gluttony" 6:48 4. "Sun of Nothing" 10:59 5. "Ants of the Sky" 13:11 6. "Prequel to the Sequel" 8:37 7. "Viridian" (instrumental) 2:52 8. "White Walls" 14:14 Total length: 64:26

Label: Sumerian Records – SUM-1509 Format: 2 x Vinyl, LP, Album, Limited Edition, Stereo, Black With Silver And Blue Merge / Splatter [Monochrome] Country: Europe Released: Aug 23, 2021 Genre: Rock Style: Progressive Metal, Metalcore, Math Rock A1 Monochrome 3:15 A2 The Double Helix of Extinction 6:16 A3 Revolution in Limbo 9:13 B1 Fix the Error Drums – Kenneth Schalk, Mike Portnoy, Navene Koperweis 5:01 B2 Never Seen / Future Shock 11:42 B3 Stare Into the Abyss 3:54 C1 Prehistory 3:08 C2 Bad Habits 8:43 C3 The Future Is Behind Us 5:22 D1 Turbulent 5:57 D2 Sfumato 1:09 D3 Human Is Hell (Another One With Love) 15:08 Exclusive Retailer – Kings Road Merch Europe – SUM-1509 Bass, Keyboards – Dan Briggs Drums – Blake Richardson Engineer – Jamie King, Jason Prushko, Thomas Cucé Guitar – Dustie Waring, Paul Waggoner Layout, Design – Corey Meyers Legal – Bryan K. Christner Mastered By – Tony Lindgren Mixed By – Jens Bogren, Ricardo Borges Photography By – Aaron Strelecki, Corey Meyers Producer – Between the Buried and Me, Jamie King Vocals, Keyboards – Thomas Giles Rogers Jr. Written By, Performer, Lyrics By – Between the Buried and Me Double LP (Monochrome Vinyl) presented in die-cut gatefold jacket with two full-color inner sleeves. Exclusive retailer Metal Blade / Kingsroadmerch.eu shop, limited to 350 copies worldwide. Barcode: 810016764090

Label: Metal Blade Records – 3984-14999-1 Format: Vinyl, 12", EP, Repress Country: US Released: 2015 Genre: Rock Style: Math Rock, Death Metal, Hardcore, Pop Rock, Experimental A Specular Reflection 11:21 B1 Augment Of Rebirth 10:19 B2 Lunar Wilderness 8:22

Bury Your Dead – You Had Me At Hello Bury Your Dead - You Had Me At Hello album cover More images Genre: Rock Style: Hardcore Year: 2003 Sunday's Best 2:51 Tuesday Night Fever 2:39 Dragged Out And Shot 1:37 So Fucking Blues 2:19 Burn Baby Burn 1:57 33 RPM 2:37 Cammo Is My Favorite Color 2:06 69 Times A Charm 2:08 Ten Minute Romance 3:03 Mosh N' Roll 12:02

Cover Your Tracks is the second full-length album from the metalcore band Bury Your Dead. It was released October 19, 2004, on Victory Records and features re-recordings of two songs from Bury Your Dead's first full-length You Had Me at Hello. All songs are named after Tom Cruise movies.[3] Track listing No. Title Length 1. "Top Gun" 2:19 2. "Vanilla Sky" 2:23 3. "Mission: Impossible" 2:42 4. "Eyes Wide Shut" 2:33 5. "Magnolia" 2:47 6. "The Outsiders" 2:15 7. "Mission: Impossible 2" 2:32 8. "The Color of Money" 2:35 9. "Risky Business" 4:25 10. "Legend" 2:22 11. "All the Right Moves" 3:00 12. "Losin' It" 1:14 Total length: 31:07 Music videos were released for "Magnolia" and "The Color of Money". Credits Band Mat Bruso - vocals Brendan "Slim" MacDonald - guitars Eric Ellis - guitars[4] Rich Casey - bass Mark Castillo - drums Other Matthew Ellard - production, mixing Alan Douches - mastering Adam Wentworth - layout, design Robert Lotzko - photography Chris Daniele - model Krista Kovacs - model Elisha Kovacs - model Mark and Liz Copec - cars John Domminello - tuxedos References John D. Luerssen. "Cover your Tracks overview". All Music. "Cover your Tracks review". Punknews. 29 October 2004. New Wave of American Heavy Metal Garry Sharpe-Young 2005 - - Page 73 0958268401 In June 2004 the band would enter the Q-Division Studios in Somerville, Massachusetts with producer Matthew Ellard to record their second album 'Cover Your Tracks'. The album would have a rather bizarre concept in that all 12 songs, including the title track, were named after Tom Cruise movies! With the new album released in October 2004, the band would film a promotional video for the song 'The Color Of Money' with director Dale Restighini in Irvington, New Jersey, ... Ellis played guitar on Bury Your Dead's breakout album 'Cover Your Tracks' in 2004, along with their 2006 album, 'Beauty and the Breakdown,' and the metalcore band's 2008 self-titled record.

Beauty and the Breakdown is an album by metalcore band Bury Your Dead. The album was released on July 11, 2006, on Victory Records. The artwork is akin to a storybook and the song titles are from fairy tales. Much like the group's second album, Cover Your Tracks, this album has a theme to its song titles. All songs titles are inspired by children's tales, similar to the songs on Cover Your Tracks, which are all Tom Cruise movie titles.[4] The album is based on a woman and her abuser, as evidenced in the booklet that comes with the album. The album sold 7,039 copies in its first week of release entering the Billboard 200 at number 129.[5] Track listing No. Title Fairy tale Length 1. "House of Straw" Three Little Pigs 4:02 2. "A Glass Slipper" Cinderella 3:25 3. "The Poison Apple" Snow White 3:23 4. "Twelfth Stroke of Midnight" Cinderella 2:05 5. "Trail of Crumbs" Hansel and Gretel 2:41 6. "A Wishing Well" Snow White 3:27 7. "Let Down Your Hair" Rapunzel 3:13 8. "Mirror, Mirror..." Snow White 3:49 9. "Second Star to the Right" Peter Pan 2:38 10. "The Enchanted Rose" Beauty and the Beast 0:55 11. "House of Brick" Three Little Pigs 4:23 Total length: 34:06 Personnel Bury Your Dead Mat Bruso - vocals Brendan "Slim" MacDonald - guitar Eric Ellis - guitar Mark Castillo - drums Aaron Patrick - bass Production Jason Suecof - Producer, Engineer, Mixing Dave Quiggle - artwork References "Beauty and the Breakdown Overview". Allmusic. Retrieved 5 May 2011. "Bury Your Dead: Beauty and the Breakdown, PopMatters". 7 August 2006. "Beauty and the Breakdown review". Punknews. 28 July 2006. Retrieved 23 July 2019. Max Deneau (1 August 2006). "Beauty and the Breakdown review". Exclaim!. Retrieved 23 July 2019. "BURY YOUR DEAD CHARTING and NEW MUSIC VIDEO AND FAMILY VALUES TOUR!!". cravemagazine.com. 2006-08-03. Archived from the original on July 8, 2011. Retrieved 2006-08-03. vte Bury Your Dead Chris Towning Mat Bruso Mark Castillo Aaron "Bubble" Patrick Dustin Schoenhofer Brendan "Slim" MacDonald

1. Top Gun (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:57 info buy track 2. Vanilla Sky (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 03:21 3. Mission Impossible (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 03:34 4. The Outsiders (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:13 5. Sunday's Best (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:50 6. Legend (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:13 7. The Color Of Money (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:19 8. 33 RPM (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 03:03 9. Eyes Wide Shut (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:12 10. Camo Is My Favorite Color (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 02:05 11. Magnolia (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 03:06 12. Losin' It (Live At Chain Reaction, Anaheim, CA / 05-10-2005) 01:26 credits released July 12, 2005 2011, © 2011 Craft Recordings., Distributed by Concord. license all rights reserved

Label: Guillotine Records (5) – GR005 Format: CD, EP Country: UK Released: 2018 Genre: Hip Hop, Rock Style: Hardcore 1 Hatroduction 2:15 2 Faked By Reality 3:03 3 This Way 2:17 4 My Strength Featuring – Recount (2) 3:49 5 Escape Hate 2:46 Bucket Of Hate "Self Titled" EP CD packaged in a jewel case with lyric booklet.

Blood Fire Death is the fourth studio album by Swedish extreme metal band Bathory. It was released on 8 October 1988, through Music for Nations sublabel, Under One Flag. The album, although mostly black metal, includes some of the first examples of Viking metal.[1] According to the book Black Metal: Evolution of the Cult by Dayal Patterson, Blood Fire Death began a second trilogy, an era Quorthon described as the "pre-Christian Swedish Viking Era". Background and recording The lyrics to "For All Those Who Died" were taken from a poem by Erica Jong, first published in her book Witches (1981),[2] while the first three verses of "A Fine Day to Die" are taken from "Cassilda's Song" of Robert W. Chambers' The King in Yellow. The front cover comes from the painting The Wild Hunt of Odin (1872) by Peter Nicolai Arbo. The painting as well as the opening track "Oden's Ride Over Nordland" use the Wild Hunt motif from folklore. Blood Fire Death established this motif in metal culture, where it since has become popular with a number of bands and event organizers.[3] Critical reception Professional ratings Review scores Source Rating AllMusic [1] Collector's Guide to Heavy Metal 6/10[4] In 2009, IGN included Blood Fire Death in their "10 Great Black Metal Albums" list.[5] Track listing All tracks are written by Quorthon Side one No. Title Length 1. "Odens Ride Over Nordland" 2:59 2. "A Fine Day to Die" 8:35 3. "The Golden Walls of Heaven" 5:22 4. "Pace 'Till Death" 3:39 5. "Holocaust" 3:25 Side two No. Title Length 6. "For All Those Who Died" 4:57 7. "Dies Irae" 5:11 8. "Blood Fire Death" 10:28 9. "Outro" 0:58 Note: The "Outro" is not listed on the cover and is not included on the cassette release. Personnel Bathory Quorthon – guitars, vocals, percussion, effects, producer, engineer, mixing Vvornth – drums Kothaar – bass Production Boss (Börje Forsberg) – producer, engineer, mixing Peter Nicolai Arbo – album cover painting, The Wild Hunt of Odin (Åsgårdsreien) Pelle Matteus – sleeve photography

Label: Neh Records – none, MTM Music – none Format: CD, Album, Limited Edition Country: US Released: 2002 Genre: Rock Style: Nu Metal 1 Addiction 4:38 2 Ashes 4:35 3 Numb 5:03 4 Karma 4:26 5 White Trash Summer 3:38 6 So What 3:53 7 428 3:35 8 Bitter Pill 4:46 9 Teen Spirit (Nirvana Cover) 5:02 10 Middle Amerikan Tragedy 3:53 11 Seeds 6:30

Spreading the Disease is the second studio album by the American heavy metal band Anthrax, released on October 30, 1985, by Megaforce Records and Island Records. It was the band's first album to feature vocalist Joey Belladonna and bassist Frank Bello. A special two-disc edition of the album was released in 2015, celebrating its 30th anniversary.[1] Background and writing After Anthrax finished touring in support of Fistful of Metal, vocalist Neil Turbin was expelled from the band. Matt Fallon replaced him, but was quickly fired because he lacked confidence in the studio. Producer Carl Canedy suggested the group to audition Joey Belladonna, who was not familiar with thrash metal. Though the band members were not pleased with Belladonna's musical background, they hired him and booked a few shows with their new frontman.[2] Spreading the Disease was recorded at the Pyramid Sound Studios in Ithaca, New York with Canedy, while Jon Zazula served as executive producer. The album featured the single "Madhouse", for which a music video was produced, but it did not receive much airplay on MTV, because the station believed the content was degrading to people with mental illnesses. Spreading the Disease was the band's major label debut and was released by Megaforce / Island Records. It was the last Anthrax album to feature songwriting from Turbin. This was also the first to feature songwriting from bassist Dan Lilker after his departure from the band, though more of his songwriting would be featured on the following album, Among the Living. Turbin wrote the lyrics for "Armed and Dangerous" and "Gung-Ho", and Lilker contributed to the music. Zazula was given songwriting credit for "Medusa", his only contribution for Anthrax. Zazula was originally credited as the sole writer of the song, but album reissues credit the rest of the band as well. Former vocalist Matt Fallon, who left during the recording sessions, claimed in a 2016 interview that he contributed to the lyrics but was left uncredited.[3][4] The band has not commented on these accusations. After recording Spreading the Disease, guitarist Scott Ian, drummer Charlie Benante and Lilker, who had joined Nuclear Assault, founded the Stormtroopers of Death and recorded the crossover thrash album Speak English or Die. In his autobiography, I'm the Man: The Story of That Guy from Anthrax (2014: 91), Scott Ian said the acronym in the song "A.I.R." stands for "Adolescence in Red" and that it was a wordplay of his on George Gershwin's Rhapsody in Blue.[5] The outro of "Gung-Ho" is a rondo from "Sinfonie de Fanfares" by the Baroque composer Jean-Joseph Mouret. Cover art The cover art was made by Peter Corriston and Dave Heffernon, who had worked on Led Zeppelin's Physical Graffiti sleeve. Benante came up with the concept of a man being investigated for radiation levels.[6] Reception Professional ratings Review scores Source Rating AllMusic [7] Collector's Guide to Heavy Metal 10/10[8] Encyclopedia of Popular Music [9] Kerrang! [10] The New Rolling Stone Album Guide [11] Record Collector [12] Rock Hard 9.5/10[13] Sputnikmusic 4/5[14] Spreading the Disease was released on October 30, 1985 and received widespread acclaim by music critics. In a contemporary review, Howard Johnson of the British magazine Kerrang! recommended the album as the best example of thrash metal and equated Anthrax to Metallica in terms of songwriting capability.[10] More recently, AllMusic's Steve Huey said the album was a great leap forward from its predecessor and one of Anthrax's finest. He praised the lyrics for paying tribute to fictional characters as in "Lone Justice" and "Medusa".[7] Canadian journalist Martin Popoff calls the album "a shocking blast of noise from a long-haired bunch of punks that knew their own business", praising the "deceptively chaotic songcraft" and Belladonna's vocals.[8] Sputnikmusic's Mike Stagno also liked Belladonna's vocals, as well as the tight riffs of guitarists Ian and Spitz. Stagno said Spreading the Disease had "excellent" sound and production and recommended the album for fans of thrash metal.[14] Frank Trojan of Rock Hard wrote that Spreading the Disease had more potential and intelligence than Fistful of Metal, as well as more differentiated songs.[13] British author Joel McIver described Spreading the Disease as "the sound of pure determination, at a point in metal history where boundaries were being pushed every day."[12] Track listing All tracks are written by Anthrax except where noted Side one No. Title Length 1. "A.I.R." 5:45 2. "Lone Justice" 4:36 3. "Madhouse" 4:19 4. "S.S.C./Stand or Fall" 4:08 5. "The Enemy" 5:25 Side two No. Title Lyrics Music Length 6. "Aftershock" 4:28 7. "Armed and Dangerous" Neil Turbin TurbinScott IanDanny Lilker 5:43 8. "Medusa" Jon Zazula 4:44 9. "Gung-Ho" Turbin TurbinIanLilker 4:34 Total length: 43:40

Among the Living is the third studio album by American heavy metal band Anthrax. It was released on March 16, 1987, by Megaforce Records in the US and by Island Records in the rest of the world. The album is dedicated to Cliff Burton of Metallica, who died in a bus accident six months before its release while Metallica were on tour with Anthrax as the opening act. Veteran engineer Eddie Kramer, at his first venture with a thrash metal act, co-produced the album. Recording proceeded smoothly, but different visions for the sound of the final release created disagreements between Anthrax and the producer during the audio mixing. Anthrax members described the album as their major breakthrough, as it marked the progression from the band playing in small clubs to arenas and stadiums. The album was critically acclaimed, and promoted the band among the "Big Four" of thrash metal. The band's second gold record, Among the Living was certified gold by the RIAA on July 31, 1990. Background The original members of Anthrax grew up in New York City listening to 1970s rock and hard rock[2] and turned to heavy metal in the 1980s, profoundly influenced by bands like Judas Priest, Iron Maiden and Motörhead.[3] Drummer Charlie Benante was also a fan of bands playing music considered extreme at the time, such as Raven and Venom,[4] and he and guitarist Scott Ian enjoyed hardcore as much as metal.[5] Guitarist Dan Spitz, originally in the band Overkill,[6] was an accomplished, trained musician,[7] while Joey Belladonna had a background as a singer in cover bands of arena rock acts Journey, Foreigner and Bad Company.[8] The integration of these differing musical sensibilities resulted in Anthrax's second album, Spreading the Disease, praised by critics for showing decisive progress from the band's debut release, Fistful of Metal,[9] and for introducing a unique sound, which opposed the fast and heavy riffing of thrash metal with Belladonna's clean and melodic vocals.[10] That album also marked the beginning of the songwriting method that would see the band through its most successful period. Benante would create riffs and rough musical structures for all the songs,[11] that would later be developed, integrated and arranged with the other musicians.[7] Ian composed all the lyrics and worked on them with Belladonna to create vocal melodies that were fit to his high-pitched, melodic singing style.[12] Anthrax had spent about six months in 1985 recording Spreading the Disease, their first album for the major label Island Records, which sold more than 100,000 copies worldwide.[13] They had been on tour to support the album since its release, both as headliners in small clubs and as an opening act for other bands.[14] When opening for W.A.S.P. and Black Sabbath on their tour supporting the album Seventh Star, Anthrax played for the first time in mid-sized arenas and were thrilled by the experience and by audiences' reaction to their music.[15] After a brief stop to rehearse new songs in July 1986, Anthrax joined longtime friends and Megaforce Records labelmates Metallica[16] on the European leg of Metallica's Damage, Inc. Tour supporting Master of Puppets.[17] In Sweden on September 27, Metallica bassist Cliff Burton was killed when the band's tour bus skidded off the road.[18] His death profoundly impacted the thrash-metal community in which he was a highly regarded figure,[19] and the members of Anthrax dedicated their new album Among the Living to his memory.[4] In 2012, Ian said in an interview that part of the reason "... the album sounds so angry is because Cliff died. We'd lost our friend and it was so wrong and unfair."[20] Track listings All credits adapted from the original releases.[100] All tracks are written by Anthrax, except "I Am the Law" and "Imitation of Life" by Anthrax and Danny Lilker Side one No. Title Length 1. "Among the Living" 5:16 2. "Caught in a Mosh" 4:59 3. "I Am the Law" 5:57 4. "Efilnikufesin (N.F.L.)" 4:54 5. "A Skeleton in the Closet" 5:32 Side two No. Title Length 6. "Indians" 5:40 7. "One World" 5:56 8. "A.D.I./Horror of It All" 7:49 9. "Imitation of Life" 4:10 2009 deluxe edition bonus tracks No. Title Writer(s) Length 10. "Indians" (alternate lead) Anthrax 5:39 11. "One World" (alternate take) Anthrax 5:55 12. "Imitation of Life" (alternate take) Anthrax, Lilker 4:26 13. "Bud E Luv Bomb and Satan's Lounge Band" Anthrax 2:45 14. "I Am the Law" (live in Dallas) Anthrax, Lilker 6:03 15. "I'm the Man" (instrumental) Anthrax, John Rooney 3:04 Total length: 78:18

State of Euphoria was produced by Anthrax and Mark Dodson, with Alex Perialas engineering. Guitarist Scott Ian has been quoted as saying that the band hired Dodson to produce this album because of his work with Judas Priest and Metal Church.[4] The album reached No. 30 on the Billboard 200 chart in late 1988 and was certified Gold by the RIAA on February 8, 1989.[5] The songs "Who Cares Wins", dealing with the plight of the homeless, and "Antisocial" (a cover of the song by the French band Trust) were released as singles with accompanying music videos. The song "Misery Loves Company" is based on the Stephen King novel Misery, while "Now It's Dark" was inspired by the David Lynch film Blue Velvet, specifically the behavior of the sexually depraved, self-asphyxiating, murderous sociopath Frank Booth, as played by Dennis Hopper. The song "Make Me Laugh" is critical of Jim and Tammy Fae Bakker and televangelism in general, a popular target of thrash metal bands of that period. The song specifically mentioned minutiae such as the air-conditioned doghouse and Christian amusement park. The majority of the album's music was composed by drummer Charlie Benante while lyrics were composed by rhythm guitarist Scott Ian. The back cover of the album contains a parody picture of the band drawn by Mort Drucker, a caricaturist best known for his artwork in the magazine Mad. Reception Professional ratings Review scores Source Rating AllMusic [6] Collector's Guide to Heavy Metal 7/10[7] Encyclopedia of Popular Music [8] Metal Forces 10/10[9] The New Rolling Stone Album Guide [10] Critical reception for the album was lukewarm upon its release. The album failed to live up to the expectations, commercial and otherwise, set by the band's previous releases, Spreading the Disease, Among the Living and the I'm the Man EP. Aside from "Be All, End All" and "Antisocial", most of the songs on State of Euphoria have not appeared on the band's live setlists since the album's accompanying tour in 1988–1989. The only songs from this album that have never been played live at least once are "Schism", "Misery Loves Company" and "13". The members of Anthrax have since spoken about their mixed opinions on State of Euphoria, and drummer Charlie Benante has been quoted as saying that the band feels the album was not finished properly.[11][12] Touring and promotion Anthrax spent nearly a year touring in support of State of Euphoria. Prior to the album's release, the band supported Iron Maiden on their Seventh Tour of a Seventh Tour in Europe, and opened for Ozzy Osbourne on his No Rest for the Wicked tour in the United States from November 1988 to January 1989. The band also opened for Metallica on their Damaged Justice tour.[2] Anthrax continued touring in 1989, playing six shows in the UK with Living Colour in March, and headlining the Headbangers Ball Tour (with support from Helloween and Exodus) in April–May. Following the Headbangers Ball tour, Anthrax toured Europe with Suicidal Tendencies, King's X and M.O.D., which took place in June–July 1989.[2] Track listing All tracks are written by Anthrax, except "Antisocial" by Bernie Bonvoisin and Norbert Krief Side one No. Title Length 1. "Be All, End All" 6:22 2. "Out of Sight, Out of Mind" 5:13 3. "Make Me Laugh" 5:41 4. "Antisocial" (Trust cover) 4:27 5. "Who Cares Wins" 7:35 Side two No. Title Length 6. "Now It's Dark" 5:34 7. "Schism" 5:27 8. "Misery Loves Company" 5:40 9. "13" 0:49 10. "Fīnalē" 5:47 Total length: 52:47 Personnel Band members Joey Belladonna – lead vocals Dan Spitz – lead guitar, backing vocals Scott Ian – rhythm guitar, backing vocals Frank Bello – bass, backing vocals Charlie Benante – drums Additional musicians Carol Freedman – cello Production Anthrax and Mark Dodson – production Alex Perialas – engineering, associate production Bridget Daly, Paul Speck – assistant engineering Jon Zazula and Marsha Zazula – executive production Don Brautigam, Mort Drucker – artwork Gene Ambo – photography

Persistence of Time is the fifth studio album by the American thrash metal band Anthrax. It was released on August 21, 1990, through Megaforce Worldwide/Island Records and was nominated in 1991 for a Grammy Award in the Best Metal Performance category. The album included the singles, "Got the Time" (a Joe Jackson cover) and "In My World" (which was performed by the band on the Married... with Children episode, "My Dinner with Anthrax"). Persistence of Time was the last full Anthrax album to feature vocalist Joey Belladonna until 2011's Worship Music. Album information Anthrax returned to the studio in the fall of 1989 with Mark Dodson (who produced the previous album, State of Euphoria) to start work on their fifth album. Recording of the album was difficult, with a large structure fire causing the band to lose more than $100,000 worth of gear and their rehearsal studio[3] on January 24, 1990.[citation needed] Following this disaster, the band moved to a different studio in late February of that year to finish work on the album. The album's tone is decidedly more contemplative and mature than the bulk of Anthrax's previous work. Abandoning the humor and comic book references which were common on their previous albums, the lyrical focus of Persistence of Time is the need for tolerance and peace.[4] Reaction to Persistence of Time was mixed, with critics and fans alternately panning and praising this darker sound. The band also introduced a progressive side of the music which had not been present in their earlier work, while also placing a reduced emphasis on typical thrash metal elements such as fast tempo and aggression. This is the last full studio album to feature Joey Belladonna on vocals before John Bush took over vocal duties. Belladonna appeared on several songs on the 1991 EP Attack of the Killer B's before splitting acrimoniously from the band in 1992. He returned to the band in June 2010 to record the album Worship Music, which was released in 2011. The introduction to the instrumental song "Intro to Reality" featured dialogue from an episode of The Twilight Zone called "Deaths-Head Revisited". "Keep It in the Family", "In My World", and "Belly of the Beast" were later re-recorded with the John Bush/Rob Caggiano line-up for the album The Greater of Two Evils. Reception Professional ratings Review scores Source Rating AllMusic [5] The Collector's Guide to Heavy Metal 7/10[6] The Encyclopedia of Popular Music [7] (The New) Rolling Stone Album Guide [8] Select [9] Persistence of Time's highest position on the Billboard 200 chart was No. 24.[10] It was certified gold by the RIAA on January 17, 1991.[11] Steve Huey of AllMusic gave the album a favorable review, saying that it "rivals Among the Living as Anthrax's best album". "The more cartoonish side of the band" is substituted by a "dark, uncompromising examination of society's dirty underbelly", which makes Persistence of Time "their most lyrically consistent album".[5] Kim Neely of the American magazine Rolling Stone underlines the social tone of the lyrics and describes Persistence of Time as "a foray into the dreary, gray bowels of urban hell", praising singer Joey Belladonna for "railing against every societal ill known to city-bred man". He concludes saying that the album "ain't the most uplifting thing to listen to, but it's real."[12] A similar concept was explained by a review by The New York Times of November 18, 1990, which said that "the music carries the exhilaration of a desperate struggle."[13] Canadian journalist Martin Popoff praised the "admirable Prong/Pantera/Metallica '90s minimalism at work here", but found "the overall effect just so dense and relentless that it just wears you out by hangover's end."[6] Loudwire ranked the album #25 on their list "Top 90 Hard Rock + Metal Albums of the 90's".[14] Track listing All tracks are written by Anthrax except "Got the Time" by Joe Jackson Side one No. Title Length 1. "Time" 6:55 2. "Blood" 7:13 3. "Keep It in the Family" 7:08 4. "In My World" 6:25 5. "Gridlock" 5:17 Side two No. Title Length 6. "Intro to Reality" (instrumental) 3:23 7. "Belly of the Beast" 4:47 8. "Got the Time" (Joe Jackson cover) 2:44 9. "H8 Red" 5:04 10. "One Man Stands" 5:38 11. "Discharge" 4:12 Total length: 58:40 Japanese edition bonus track No. Title Writer(s) Length 12. "Protest and Survive" (Discharge cover) Garry Maloney, Tony "Bones" Roberts, Roy "Rainy" Wainwright, Kelvin "Cal" Morris 2:22 Total length: 61:02 Personnel Band members Joey Belladonna – lead vocals Dan Spitz – lead guitar, backing vocals Scott Ian – rhythm guitar, backing vocals Frank Bello – bass, backing vocals Charlie Benante – drums Production Anthrax – producer, liner notes Mark Dodson – producer, basic tracks engineer Steve Thompson, Michael Barbiero – mixing at Electric Lady Studios, New York Greg Goldman, Brian Schueble, Marnie Bryant, Ed Korengo – assistant engineers Bob Ludwig – mastering at Masterdisk, New York Jon and Marsha Zazula – executive producers, management Don Brautigam – artwork Waring Abbott – photography Crew Rick Downey – lighting, management George Geranios – sound Paul Crook – lead guitar tech Bill Pulaski – band Mike Tempesta – rhythm guitar tech Troy Boyer – bass tech Walter Gemenhardt – drum tech Art Ring, Maria Ferrero – management

Sound of White Noise is the sixth studio album by American heavy metal band Anthrax, released in May 1993 by Elektra Records. It is the band's first album to feature vocalist John Bush, who replaced longtime frontman Joey Belladonna in 1992, and the last studio album with longtime lead guitarist Dan Spitz. It was also the second album Bush worked on with producer Dave Jerden, as he also produced Symbol of Salvation for Bush's previous band, Armored Saint. Overview The album, produced by the band and Dave Jerden, includes the singles "Only", "Room for One More", "Black Lodge" and "Hy Pro Glo". This album marked a significant revision in the band's sound, with the departure of lead vocalist Joey Belladonna and the introduction of grunge influences. Jerden was known for producing the likes of Alice in Chains and Jane's Addiction. With Sound of White Noise, Anthrax moved away from the rapid-fire thrash metal that had defined their earlier output. Their new sound drew on the more straightforward style of Armored Saint (Bush co-wrote all the songs) and often emphasized more melodic songwriting. White Noise continued the trend started on 1990's Persistence of Time of abandoning the humor of Anthrax's 1980s albums in favor of a more serious or earnest tone. Songs like the walloping "Only" and stuttering, stop-start dynamics of "Hy Pro Glo" maintained a level of aggression on par with anything else the band recorded, but in a different alternative metal style. Other songs found Anthrax exploring new territory, like the mid-tempo "Room for One More", and the atmospheric "Black Lodge" (inspired by the Twin Peaks TV series and featuring keyboardist Angelo Badalamenti). Bush's lower-pitched, darker vocal style also was a drastic change from Belladona's. During the recording of the album, the band also produced the songs "Poison My Eyes" and a cover of the Smiths song "London" (both would be featured on the soundtracks to the movies Last Action Hero and Airheads, respectively). Reception Professional ratings Review scores Source Rating AllMusic [6] Collector's Guide to Heavy Metal 10/10[7] Encyclopedia of Popular Music [8] The New Rolling Stone Album Guide [9] Rolling Stone [10] Dave Connolly reviewed the album on behalf of AllMusic and called it "surprisingly melodic" but "predictably pummeling" and the music "relentless". He commends the overall quality of the songs on the album before settling on "Only" as the best overall, but calls out several other tracks for praise as well.[6] Rock journalist Martin Popoff praised the performance of new singer John Bush and the production by Dave Jerden and defined the album's music "top-flight, state-of-the-art metal, fortified by the band's usual societal concerns, here elevated to eloquent outrage at man's crumbling morality."[7] Spin critic John Wiederhorn described the album as "a good typical heavy-metal record." Nevertheless, he also noted that the album "doesn't wander beyond the sound of its dark, moody intros and tuneful, galloping rhythms."[2] Tom Sinclair of Rolling Stone described the album as "a powerful comeback from a group that never went away."[10] Among the album's songs, "Only" has received particular attention; Metallica frontman James Hetfield is said to have referred to "Only" as a "perfect song".[11] Commercial performance The album debuted at No. 7 on the Billboard 200 charts,[12] selling 62,000 copies in its first week. It is Anthrax's highest ever chart position. It sold 40,000 more copies in its second week.[13] Sound of White Noise was certified gold by the RIAA on July 13, 1993.[14] As of 2002, the album had sold 511,284 copies in the US.[15] The singles "Only" and "Black Lodge" charted at No. 26 and No. 38 respectively on the Billboard Hot Mainstream Rock Tracks chart.[12] In the UK, "Only" and "Black Lodge" charted at No. 36 and No. 53 respectively.[16] Track listings All tracks are written by John Bush, Scott Ian, Frank Bello and Charlie Benante, except "Black Lodge" by Bush, Ian, Bello, Benante and Angelo Badalamenti No. Title Length 1. "Potters Field" 5:00 2. "Only" 4:56 3. "Room for One More" 4:54 4. "Packaged Rebellion" 6:18 5. "Hy Pro Glo" 4:30 6. "Invisible" 6:09 7. "1000 Points of Hate" 5:00 8. "Black Lodge" 5:24 9. "C11 H17 N2 O2 S Na" 4:24 10. "Burst" 3:35 11. "This Is Not an Exit" 6:49 Total length: 56:56 Bonus tracks (2001 remaster) No. Title Writer(s) Length 12. "Auf Wiedersehen" (Cheap Trick cover) Rick Nielsen, Tom Petersson 3:33 13. "Cowboy Song" (Thin Lizzy cover) Phil Lynott, Brian Downey 5:06 14. "London" (The Smiths cover) Morrissey, Johnny Marr 2:54 15. "Black Lodge (Strings Mix)" Bush, Ian, Bello, Benante, Badalamenti 5:21 Total length: 73:50 Bonus CD (Japanese edition) No. Title Writer(s) Length 1. "Noisegate" Anthrax 4:25 2. "Cowboy Song" (Thin Lizzy cover) Phil Lynott, Brian Downey 5:06 3. "Auf Wiedersehen" (Cheap Trick cover) Rick Nielsen, Tom Petersson 3:33 4. "Looking Down the Barrel of a Gun" (Beastie Boys cover) Michael Diamond, Adam Horovitz, John King, Adam Yauch, Matt Dike, Mike Simpson 3:09 Total length: 73:09

Fistful of Metal is the debut studio album by American heavy metal band Anthrax, released in January 1984 by Megaforce Records (US only) and Music for Nations internationally. The album includes a cover of Alice Cooper's "I'm Eighteen". This is the band's only album to feature original frontman Neil Turbin and original bassist Dan Lilker, who were replaced by Matt Fallon (and eventually by third vocalist Joey Belladonna) and Frank Bello, respectively. Former original guitarist Greg Walls claims that Anthrax "ripped him off" as he claims he wrote the material on the album.[3][4] Background Schoolmates Danny Lilker and Scott Ian formed Anthrax in 1981 in New York City. They both played guitar, but Lilker switched to bass when they could not find a suitable bassist. In 1982, after some lineup rotations, Anthrax added vocalist and fellow schoolmate Neil Turbin. Drummer Charlie Benante and lead guitarist Dan Spitz were added in 1983.[5] Anthrax recorded a five-track demo in early 1983, which led to the band signing with Jon Zazula's Megaforce Records. The label issued a seven-inch single of "Soldiers of Metal / Howling Furies", which sold 3,000 copies in two weeks.[5] Fistful of Metal was recorded in Pyramid Sound Studios in Ithaca, New York and produced by Carl Canedy, drummer in The Rods. The album was released in January 1984 by Megaforce in the US, Music for Nations in the UK, and Roadrunner in Europe.[6] Shortly after the release of Fistful of Metal, Lilker was fired by Anthrax. In Lilker's own words "After I was thrown out, the guys unfairly said, "Well, it took him 30 times to record the bass track for 'I'm Eighteen,'" and if you listen to the bass track, if you didn't know the whole story, you would say, "Well, that's weird, isn't it?" It's only, like, five notes."[7][8] The band, at Ian and Benante's insistence, hired Charlie's nephew, Frank Bello, as Lilker's replacement. Turbin had contributed song ideas, lyrics, titles and arrangements to most songs on the album, as well as three songs from the second album Spreading the Disease, but Ian and Benante, who played guitar in addition to drums, felt they needed tighter control on the songwriting.[9] Due to a songwriting partnership between Ian and Benante, with Ian wanting to be more of a central focal point he began writing the lyrics and Benante the music, Turbin was forced out of the band a few weeks after the Roseland Ballroom show with Metallica.[9] Music journalist Eddie Trunk stated: "Early on, I told Jon Zazula that what I didn't like about Anthrax was singer Neil Turbin's vocals."[10] He admits in his writing to pressuring Zazula and Anthrax into firing Turbin from the band.[10] The band did not rehire Lilker when given the opportunity and instead opted for then Anthrax roadie Frank Bello. Former guitarist Greg Walls said he was shocked that the album was released without giving credit to Walls as the primary songwriter on "Panic" and "Metal Thrashing Mad", as well as smaller songwriting contributions throughout the album.[11] Release Fistful of Metal was released in January 1984. It was released as a double album by Music for Nations in the UK, featuring extra mixes of "Soldiers of Metal" and "Howling Furies", which were not included on the US edition.[12] Megaforce repackaged a compilation of Fistful of Metal and the 1985 extended play Armed and Dangerous in 2005, which featured a different artwork and some liner notes, but excluded any new mixes and bonus tracks. Commemorating its 25th anniversary, Megaforce reissued the album on three colored 10-inch LPs, also including Armed and Dangerous.[13] Reception Professional ratings Review scores Source Rating AllMusic [14] Collector's Guide to Heavy Metal 8/10[15] Encyclopedia of Popular Music [16] The Rolling Stone Album Guide [17] Critical reception to Fistful of Metal was mixed. Xavier Russel of Kerrang! called it a great debut album, with songs played "at a hundred miles an hour" which could just have been "slightly more original."[18] Writing in the Encyclopedia of Popular Music, Colin Larkin called the cover art "tasteless", but commended the album's small, but steady commercial performance.[16] AllMusic's Steve Huey said Anthrax had not found its distinctive style yet, sounding more like a Judas Priest cover band. Huey found the lyrics utilizing heavy metal stereotypes and opined fans would find the record "off-putting".[14] Canadian journalist Martin Popoff praised the well-produced sound and the "almost operatic anti-thrash vocals" from Turbin, considering the album responsible for "putting New York back on the US metal map, and quality back in the books of bruising and uncompromising underground metal."[15] The term thrash metal was used for the first time in the music press by Kerrang! journalist Malcolm Dome, referring to the song "Metal Thrashing Mad".[19] Guitar World magazine placed the album on their list of "New Sensations: 50 Iconic Albums That Defined 1984".[20] In June 2019, Decibel inducted Fistful of Metal in their Hall of Fame, due to its reputation as one of the best early examples of thrash metal.[21] Despite its acclaim, Fistful of Metal is considered to be one of the least represented studio albums of Anthrax's career. Most of the songs from the album have rarely been played live since the band rose to popularity with their next two albums, Spreading the Disease and Among the Living, although "Deathrider", "Metal Thrashing Mad", "Panic", "Soldiers of Metal", "Anthrax" and "Across the River" have seen periodic revivals in later years. No songs from this album have ever appeared on any of the band's compilation albums, including Return of the Killer A's, Madhouse: The Very Best of Anthrax and Anthrology: No Hit Wonders (1985–1991), though they did re-record the heavily requested "Deathrider", "Metal Thrashing Mad", "Panic", and "Anthrax" for their 2004 album The Greater of Two Evils (the latter appearing on the 2-disc Japanese version as a bonus track). In 1986, the album was banned in Germany by the Federal Department for Media Harmful to Young Persons for its violent cover artwork.[22] The ban has since expired. Track listing Side one No. Title Writer(s) Length 1. "Deathrider" Neil Turbin, Dan Spitz, Scott Ian, Dan Lilker, Charlie Benante 3:12 2. "Metal Thrashing Mad" Turbin, Spitz, Ian, Lilker, Benante 2:42 3. "I'm Eighteen" (Alice Cooper cover) Alice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway, Neal Smith 4:06 4. "Panic" Turbin, Ian, Lilker 4:02 5. "Subjugator" Turbin, Spitz, Ian, Lilker, Benante 4:43 Side two No. Title Writer(s) Length 6. "Soldiers of Metal" Turbin, Ian, Lilker 3:00 7. "Death from Above" Turbin, Ian, Spitz 5:10 8. "Anthrax" Turbin, Ian, Lilker 3:29 9. "Across the River" (instrumental) Ian, Lilker 1:26 10. "Howling Furies" Ian, Lilker 3:54 Total length: 35:33 1987 Japan Release No. Title Writer(s) Length 6. "Raise Hell" Turbin, Spitz, Ian, Bello, Benante 4:03

Label: Bizarre Leprous Production – BLP 034 Format: CD Country: Czech Republic Released: 2002 Genre: Rock Style: Goregrind, Grindcore Instrumenta Chirurgica 1 Ahumado Granujo– Slithering Maceration Of Ulcerous Facial Tissue Written-By – General Surgery 3:52 2 Ahumado Granujo– Waste Dumps Of Dirty Armpit 0:52 3 Ahumado Granujo– Fugu 0:58 4 Ahumado Granujo– Examination Of Circulating Imunocomplexes 1:31 5 Ahumado Granujo– After Accident Part 3 Written-By – Dead Infection 1:20 6 Ahumado Granujo– Collective Masturbation In Captivity Of Carpet Hairs 1:13 7 Ahumado Granujo– Hurcrust Mudrubulus 0:49 8 Ahumado Granujo– Cracked Heels Of Menstruating Kangaroos 0:52 9 Ahumado Granujo– Satan Banana 1:18 10 Ahumado Granujo– Astrally Separated Pissing 1:13 11 Ahumado Granujo– Vaginal Journey To The World Of Erected Toys 2:13 12 Ahumado Granujo– Are We Able To Compete In Case Of Collecting Education? 1:01 13 Ahumado Granujo– The Birth In A Coffin 1:04 14 Ahumado Granujo– Cripple Bitch Written-By – Gut 1:15 15 Ahumado Granujo– Anal Retractor With Telescopic Clyster Warhead 0:54 16 Ahumado Granujo– Bleeding Peptic Ulcer Written-By – Regurgitate 0:39 17 Ahumado Granujo– The Fissures Of Kidney 1:29 Bonuses (Never Released Before) 18 Ahumado Granujo– Consequence Written-By – Ulcerous Phlegm 1:08 19 Ahumado Granujo– Boneyard Written-By – Impetigo 2:23 Special Termixes 20 Ahumado Granujo– J.R.A. (Arthritic Neurotic Mix) 7:07 21 Ahumado Granujo– Julda Fulda 224 Remix – Gorecoremafia 4:09 Differences 22 Utopia (35)– General Practitioner 1:06 23 Utopia (35)– Contamination 0:37 24 Utopia (35)– Awe 1:43 25 Utopia (35)– Dioxin 0:58 26 Utopia (35)– Puppet Govern 1:27 27 Utopia (35)– Dispensable / Replaceable 1:12 28 Utopia (35)– Transubstitate Vol. 1 1:09 29 Utopia (35)– Fundamental Vol. 2 1:06 30 Utopia (35)– Gorgeous 0:20 31 Utopia (35)– Banishment 1:15 32 Utopia (35)– Scabrous 1:03 33 Utopia (35)– Turn Face Written-By – Brutal Truth 1:15 Recorded At – Megasound Studio, Havlíčkův Brod Mixed At – Megasound Studio, Havlíčkův Brod Artwork [Ahumado Granujo], Graphics, Cover – Petr Chalupný Artwork [Assistence, Ahumado Granujo] – Gorecoremafia Backing Vocals [Backing Roar] – Harry (57) (tracks: 23 to 33) Bass Guitar [Bass] – Venca (6) (tracks: 23 to 33) Bass Guitar [Mental Bass Retardo] – Degustator (2) (tracks: 1 to 19) Drums [The Human Deflorator] – Nikotizer (tracks: 1 to 19) Drums, Vocals [Scream] – Tomáš* (tracks: 23 to 33) Guitar [G. C. Guitar Muthafucka] – Konzumator (tracks: 1 to 19) Guitar [Guitars], Vocals [Roar, Scream] – Jirka* (tracks: 23 to 33) Vocals – Harry (57) (tracks: 29) Vocals [The Mic Felatio] – Destilator (tracks: 1 to 19) Label number can only be found in matrix. Granulado Vygumado: Songs 1-19 recorded & mixed at Megasound Studio 5.-7.11.1999. Song 20 remixed on the bitch by the assistance of disease. Utopia: Recorded 23.10.1999 at Megasound studio. Jewel case with 4 panel insert. Matrix / Runout: BLP 034

Label: Cogumelo Produções – COG 046 Format: Vinyl, LP, Album Country: Brazil Released: 1991 Genre: Rock Style: Thrash A1 Ways Of Death Written-By – J. M. Francis*, J. P. Francis* A2 The Chainsaw Written-By – F. Moreira*, J. P. Francis* A3 Deathraiser Written-By – F. Moreira*, J. P. Francis* A4 Violence And Terror Written-By – F. Moreira*, J. M. Francis* B1 Blood Written-By – F. Moreira*, J. M.*, J. P. Francis* B2 From Beyond Written-By – F. Moreira*, J. P. Francis* B3 Forbidden Hate Written-By – J. P. Francis* Phonographic Copyright ℗ – Cogumelo Produções Manufactured By – BMG Ariola Discos Ltda. Recorded At – J.G. Estudios Artwork – Lica (6) Bass – André Rod* Cover – Fabio Moreira Drums – Mario Sanefuji Guitar – João Márcio Francis, João Paulo Francis Photography By [Photos By] – Nino Andrés Recorded By, Mixed By – Gauguin Vocals – Fabio Moreira Recorded in November, 1991 at JG Studios - Belo Horizonte - MG, Brazil

Audioslave is the debut studio album by American rock supergroup Audioslave, released on November 18, 2002, through Epic Records and Interscope Records. In the United States, it has been certified triple platinum by the Recording Industry Association of America. The album spawned the singles "Cochise", "Like a Stone", "Show Me How to Live", "I Am the Highway", and "What You Are"; "Like a Stone" was nominated for Best Hard Rock Performance at the 46th Grammy Awards. Background and release "Cochise" (2002) Duration: 21 seconds.0:21 For the introduction of "Cochise", Tom Morello created a helicopter-like sound with his guitar.[6] Problems playing this file? See media help. After Zack de la Rocha left Rage Against the Machine, the remaining members of the band began to look for a new vocalist. Producer and friend Rick Rubin suggested they contact Chris Cornell and played them the Soundgarden song "Slaves & Bulldozers" to showcase his ability. Cornell was in the process of writing material for a second solo album when Tom Morello, Tim Commerford, and Brad Wilk approached him, but he decided to shelve that and pursue the opportunity to work with them. Speaking about the first time Cornell jammed with the band, Morello said: "He stepped to the microphone and sang the song and I couldn't believe it. It didn't just sound good. It didn't sound great. It sounded transcendent. And ... when there is an irreplaceable chemistry from the first moment, you can't deny it."[7] The new quartet wrote 21 songs during 19 days of rehearsal and started recording their first album in late May 2001.[8][9] On March 19, 2002, the band announced they would be part of the 7th Ozzfest tour that summer, but three days later Cornell quit the group, and the Ozzfest dates were canceled. He rejoined the band six weeks later, after some management issues were resolved.[10] Rough versions of thirteen songs from the album were leaked onto various peer-to-peer file sharing networks on May 17, 2002, six months before the official release of the album, under the name "Civilian" (or "The Civilian Project").[11] In an interview with Metal Sludge that July, Morello blamed "some jackass intern at Bad Animal Studios in Seattle" for stealing some demos and putting them on the internet without the band's permission.[12] Later, he said that "It was very frustrating, especially with a band like this, there is a certain amount of expectation. For some people the initial time that they are hearing it was not in the form that you would have them hear it. In some cases they weren't even the same lyrics, guitar solos, performances of any kind."[13] Cornell was having problems with alcohol while making the album, and in late 2002 there was a rumor that he had checked himself into drug rehabilitation—a rumor that was confirmed when he conducted an interview with Metal Hammer from a clinic payphone.[14] He later said that he went through "a horrible personal crisis" during the making of the first Audioslave album, staying in rehab for two months and separating from his wife.[10] He remained sober until shortly before his passing in 2017. The album was released on November 18, 2002, in the United Kingdom and a day later in the United States.[15] The band toured through 2003, before taking a break from the road in 2004 to record their second album. Artwork The album cover was designed by Storm Thorgerson (with Peter Curzon and Rupert Truman), who, as leader of the group of artists known as Hipgnosis, was best known for his cover work for Pink Floyd. About it, he said: "We knew we were going to set this idea of the eternal flame, the graphic flame, in Lanzarote, a volcanic island, since volcanoes suited the brooding menace of Audioslave." Thorgerson also said that an unreleased version of the cover featuring a naked man looking at the flame was shot elsewhere at the same location, and "We so nearly used it, but we were not entirely sure of the nude figure."[16] Reception Critical Professional ratings Aggregate scores Source Rating Metacritic 62/100[17] Review scores Source Rating AllMusic [18] The A.V. Club (favorable)[19] Entertainment Weekly A−[20] NME 4/10[21] Pitchfork 1.7/10[3] Robert Christgau (dud)[22] Rolling Stone [23] Stylus Magazine F[4] Audioslave received mixed reviews from critics. Some critics lambasted the group's efforts as uninspired[20] and predictable.[24] Pitchfork's reviewers Chris Dahlen and Ryan Schreiber praised Cornell's voice, but criticized virtually every other aspect of the album, calling it "the worst kind of studio rock album, rigorously controlled -- even undercut -- by studio gimmickry". They described Cornell's lyrics as "complete gibberish" and called producer Rick Rubin's work "a synthesized rock-like product that emits no heat".[3] Jon Monks from Stylus Magazine also considered Rubin's production over-polished and wrote that, "lacking individuality, distinction and imagination this album is over-produced, overlong and over-indulgent".[4] Stephen Thomas Erlewine of Allmusic gave the album a mixed three stars out of a possible five, writing: "Occasionally, the group winds up with songs that play to the strengths of both camps," but more often "many of the songs sound like they're just on the verge of achieving liftoff, never quite reaching their potential."[18] On the other hand, other critics praised the supergroup's style as reminiscent of 1970s heavy metal and compared it to Led Zeppelin and Black Sabbath,[25][26] saying Audioslave add a much-needed sound and style to contemporary mainstream rock music[27] and have the potential to become one of the best rock bands of the 21st century.[28] In 2005, Audioslave was ranked number 281 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.[29] Commercial The album entered the Billboard 200 chart at position number seven, after selling 162,000 copies in its first week.[30] It was certified gold by the RIAA less than a month after its release,[31] and by 2006 had achieved triple-platinum status.[32] It is the most successful Audioslave album to date, having sold more than three million copies in the United States alone. The singles "Cochise", "Like a Stone", "Show Me How to Live", and "I Am the Highway" all reached the top ten of Billboard's Modern Rock Tracks chart, with "Like a Stone" reaching number one,[33] and those four, plus "What You Are", reached the top ten of the Mainstream Rock chart, with "Like a Stone" again reaching the top spot.[34] Track listing All lyrics are written by Chris Cornell; all music is composed by Audioslave No. Title Length 1. "Cochise" 3:42 2. "Show Me How to Live" 4:38 3. "Gasoline" 4:39 4. "What You Are" 4:09 5. "Like a Stone" 4:54 6. "Set It Off" 4:23 7. "Shadow on the Sun" 5:43 8. "I Am the Highway" 5:35 9. "Exploder" 3:26 10. "Hypnotize" 3:27 11. "Bring Em Back Alive" 5:29 12. "Light My Way" 5:03 13. "Getaway Car" 4:59 14. "The Last Remaining Light" 5:17 Total length: 65:26

Selected Ambient Works 85–92 is the debut studio album by Aphex Twin, the pseudonym of British electronic musician Richard D. James. It was released on 9 November 1992 through Apollo Records, a subsidiary of Belgian label R&S Records.[1][2] The album consists of ambient techno tracks recorded onto cassette reputedly dating as far back as 1985, when James was thirteen to fourteen years old.[8] Upon release it received widespread acclaim. It entered the UK Dance Albums Chart at No. 6 on 26 December 1992.[9] In 2012, Selected Ambient Works 85‍–‍92 was named the greatest album of the 1990s by Fact.[10] It re-entered the dance chart just after the release of Aphex Twin's 2014 album Syro.[11] James followed up the album in 1994 with Selected Ambient Works Volume II. Background James began experimenting with musical instruments, such as his family's piano, at an early age.[12] He subsequently created music using a ZX Spectrum and a sampler,[13] and also began reassembling and modifying his own synthesizers.[12] James said he composed ambient music the following year.[14] In an interview with Q magazine in 2014, James stated that the ambient track "i" emerged from those early recordings. As a teenager James gained a cult following as a DJ at the Shire Horse Inn in St Ives, with Tom Middleton at the Bowgie Inn in Crantock and on the beaches around Cornwall.[15] He studied at Cornwall College from 1988 to 1990 for a National Diploma in engineering. About his studies, he said "music and electronics went hand in hand".[15] James' first release, under the alias Aphex Twin, was the 1991 12-inch EP Analogue Bubblebath on Mighty Force Records. In 1991, James and Grant Wilson-Claridge founded Rephlex Records to promote "innovation in the dynamics of acid — a much-loved and misunderstood genre of house music forgotten by some and indeed new to others, especially in Britain".[16] He wrote "Digeridoo" to clear up his audience after a rave.[15] Although he moved to London to take an electronics course at Kingston Polytechnic, he admitted to David Toop that his electronics studies were being abandoned as he pursued a career in the techno genre.[13][17] While performing at clubs and with a small underground following, James went on to release SAW 85‍–‍92, which was mostly recorded before he started DJing and consisted of instrumental songs that were mostly beat-oriented.[5] James later stated that the songs on his debut "were just tracks that my mates [selected], ones that they like to chill out to."[18] Music "Green Calx" Duration: 31 seconds.0:31 Album version, as it appeared on Selected Ambient Works 85‍–‍92 Problems playing this file? See media help. Selected Ambient Works was reputedly recorded between 1985 and 1992 (beginning when James was fourteen)[8] using homemade equipment constructed from standard synthesisers,[7] as well as drum machines.[19] The recording's sound quality has been described as poor due to it being recorded onto a cassette damaged by a cat.[20] AllMusic noted that the album draws from the club rhythms of techno and acid house, but adds melodic elements "of great subtlety, beauty, and atmospheric texture."[7] DJ Mag noted its synthesis of elements from techno, house, hip-hop, hardcore, and ambient, describing the album as a "somnambulist dreamscape that melted heavenly shoe-gaze melodies into slow-burn beats and ice-clear techno, often with a suggestion of menace lurking at the peripheries."[21] Record Collector stated that the album "demonstrated a mysterious, calmer side" of James's music in contrast to his abrasive earlier releases, calling attention to the presence of "unearthly, gorgeous melodies" on much of the album.[22] Barney Hoskyns noted that the album demonstrates a "schizoid mix of sonic assault and melodic melancholia".[23] Rolling Stone described the album as "fusing lush soundscapes with oceanic beats and bass lines."[8] Jon Savage stated that the album "trashed the boundaries between acid, techno, ambient, and psychedelic."[24] Pitchfork stated that "despite the simplicity of his equipment and approach, the songs here are both interesting and varied, ranging from the dancefloor-friendly beats of 'Pulsewidth' to the industrial clanks and whirs of 'Green Calx.'"[19] DJ Mag noted that the "fuzzy melodies and blurred female vocal" of opening track "Xtal" places the track "in a zone similar to contemporaneous shoegaze artists Seefeel and My Bloody Valentine (albeit with the guitars stripped out)."[21] Geeta Dayal of The Guardian wrote that "Ageispolis" progresses in a "grand, cinematic sweep".[25] Simon Reynolds described its melody as "Satie-esque", upon an "incongruously strident, unrelenting beat".[26] "Tha" features a "murk[y]" beat and "underwater" sound according to Dayal.[25] Slant noted the use of "diffusive synth chords" throughout the album, and called attention to James's "pop sensibility" on tracks such as "Pulsewidth" and "Ptolemy".[4] Various tracks utilise samples: "We Are the Music Makers" features Gene Wilder's recitation of "We are the music makers, and we are the dreamers of dreams" from Arthur O'Shaughnessy's poem "Ode", from the 1971 film Willy Wonka & the Chocolate Factory. "Green Calx" contains samples from the 1987 film RoboCop and from the 1978 track "Fodderstompf" by Public Image Ltd, as well as distortion of the opening titles of John Carpenter's 1982 film The Thing.[citation needed] Artwork The album's sleeve prominently displays the Aphex Twin symbol, designed by Paul Nicholson who was also a stage dancer at several of James's live gigs around this period. Nicholson stated that the duo's intention for the logo was to be an "amorphic and soft" form with "no sharp lines".[27] According to James, it was a collaborative effort: "He designed it all but I was guiding, like "nah more like this, yeah more like that" etc. [It was] my idea to put the circle around it. There were quite a few iterations before I was happy. I was also astute enough to buy the rights off him, with my last £'s, I was still a student, as I knew it would be very important to me and I also didn't want any arguments down the road."[28] James also suggested that it represented a sigil. Release Selected Ambient Works 85‍–‍92 was released on 9 November 1992 by Apollo, a subdivision of Belgian record label R&S Records.[1][2] In the UK it was initially only available via import because a licensing deal between R&S and Outer Rhythm had collapsed earlier in the year.[29] The album was the first record released by R&S in the UK after it started its own operations in the country instead of licensing their releases to another label.[30] James departed from R&S Records after the album's release as he had signed to Warp Records and also wished to focus on his label Rephlex.[31] Reception and legacy Professional ratings Review scores Source Rating AllMusic [7] Encyclopedia of Popular Music [32] Mojo [33] Pitchfork 9.4/10[19] Q [34] Record Collector [22] Rolling Stone [8] The Rolling Stone Album Guide [35] Slant Magazine [4] Spin Alternative Record Guide 9/10[36] Selected Ambient Works 85‍–‍92 received critical acclaim and almost immediately acquired a "huge underground reputation".[37][24] Andrew Smith, reviewing the album in Melody Maker two weeks after its release, wrote: "Not since Kraftwerk has an artist understood texture in this way, made electronic music sound so organic and resonant, so full of life".[29] The record entered the UK Dance Albums Chart at No. 6 on 26 December 1992.[9] It was still in the Top 10 when James' next album Surfing on Sine Waves (using the alias Polygon Window) was released in January, and James briefly had two records in the Dance Top 10 under different pseudonyms.[38] The author and critic Simon Reynolds, writing in Melody Maker at the end of 1993, called the album "the most sheerly beautiful album of '93 [and] also the most significant," arguing that it "gave credibility to the then emergent genre of ambient techno" and "singlehandedly won over many indie fans who hadn't really listened to much techno, thus encouraging them to seek out more."[39] John Bush of AllMusic described the album as "one of the indisputable classics of electronica, and a defining document for ambient music in particular."[7] Reviewing the album after its 2002 reissue, Rolling Stone's Pat Blashill called it a "gorgeous, ethereal album" in which James "proved that techno could be more than druggy dance music."[8] David M. Pecoraro of Pitchfork noted "the creeping basslines, the constantly mutating drum patterns, the synth tones which moved with all the grace and fluidity of a professional dancer," describing the album as "among the most interesting music ever created with a keyboard and a computer" despite its "primitive origins".[19] In 2012, Reynolds wrote that the album "infuses everyday life with a perpetual first flush of spring."[40] Peter Manning, in his book Electronic and Computer Music, noted that James, upon the release of 85‍–‍92, "managed finally to elevate [electronic music's] status to the mainstream consciousness of the general public".[41] The album expanded the scope of ambient music and, according to Savage, "defined a new techno primitive romanticism".[24][35] In 2003, the album was placed number 92 in NME's "100 Best Albums" poll.[42] The album was also featured in the book 1001 Albums You Must Hear Before You Die. AllMusic called it "a masterpiece of ambient techno" and a "work of brilliance".[5] In 2012, Fact named it the greatest album of the 1990s.[10] In 2017, Pitchfork named it the best IDM album of all time.[6] Track listing All tracks are written by Richard D. James Selected Ambient Works 85–92 track listing No. Title Length 1. "Xtal" 4:51 2. "Tha" 9:01 3. "Pulsewidth" 3:47 4. "Ageispolis" 5:21 5. "i" 1:13 6. "Green Calx" 6:02 7. "Heliosphan" 4:51 8. "We are the music makers" 7:42 9. "Schottkey 7th Path" 5:07 10. "Ptolemy" 7:12 11. "Hedphelym" 6:02 12. "Delphium" 5:36 13. "Actium" 7:35 Total length: 74:40 Personnel Credits adapted from Selected Ambient Works 85‍–‍92 liner notes.[43] Richard D. James – writing, production, electronics, sampler[15]

Selected Ambient Works Volume II is the second studio album by Aphex Twin, the pseudonym of British electronic musician Richard D. James. It was released by Warp in March 1994. Billed as a follow-up to James' debut Selected Ambient Works 85–92, the album differs in sound by being largely beatless ambient music. James claimed that it was inspired by lucid dreaming, and likened the music to "standing in a power station on acid."[9] Selected Ambient Works Volume II was not especially well received by critics upon release.[10] It reached No. 11 on the UK Albums Chart.[11] Its stature has grown considerably in subsequent years and it later placed on various best of the decade lists by publications such as Rolling Stone, Spin, and Pitchfork. In 2016, Pitchfork picked Selected Ambient Works Volume II as the second greatest ambient album of all time, placing it only behind Brian Eno's Ambient 1: Music for Airports.[12] Background Composition James stated that the sounds on Selected Ambient Works Volume II were inspired by lucid dreams, and that upon awaking, he would attempt to re-create the sounds and record them. He claimed to have natural synaesthesia, which contributed to this album.[9] James described the album as being "like standing in a power station on acid"; he continued that "if you just stand in the middle of a really massive one, you get a really weird presence and you've got that hum. You just feel electricity around you. That's totally dreamlike for me. It's just like a right strange dimension."[9] Volume II differs significantly from the first volume in the series, in that it consists of lengthy, textured ambient compositions with sparing use of percussion and occasional vocal samples, in a vein Rolling Stone related to Brian Eno's early ambient works and John Cage's minimalism.[1] The album itself makes liberal use of microtonal musical tunings, which James was investing himself in at the time.[13] The 22nd track features a sample taken from an interview with a woman who had murdered her husband; the tape of the interview had been stolen from a police station by a friend of James' who worked there as a cleaner.[14] Simon Reynolds commented that on Volume II James changed styles "from the idyllic, Satie-esque naivete of early tracks like 'Analogue Bubblebath' to clammy, foreboding sound-paintings."[15] Reynolds stated that, along with other artists such as Seefeel, David Toop and Max Eastley, James had moved from "rave into the vicinity of "isolationism", a term coined by Kevin Martin to label music which "breaks with all of ambient's feel-good premises. Isolationism is ice-olationist, offering cold comfort. Instead of pseudopastoral peace, it evokes an uneasy silence: the uncanny calm before catastrophe, the deathly quiet of aftermath."[15] Artwork The artwork for the album was designed by Paul Nicholson,[16] who was credited as Prototype 21 in the liner notes.[17] He stated in an interview with Resident Advisor that the images were taken by "Richard's girlfriend at the time, Sam" and that most of the photographs were taken in a flat that the three were all living in together.[16] All images are in sepia tone, save the one used for "Blue Calx", which features the track's name against a blue field (this was changed to a plain light blue background in the US version). Different crops of the images were used for the cassette booklet and vinyl labels. Furthermore, many images were altered for the US CD pressing: several of the blurry or out-of-focus photographs were replaced with entirely new, in-focus images; and the image for the 19th track was replaced with a blank space.[18] The fan-created titles in the tracklist below are based on the original UK artwork. The front cover is the result of James scratching the Aphex Twin logo onto the back of a leather travel case, which Sam took a picture of.[16] The textual Aphex logo is a "broken" version of the one Nicholson had designed for several EPs by James. Of the pie charts and size of the photographs in the artwork, Nicholson said that they were "related to the track signatures, how long they were."[16] The timecodes of a track would be converted into a decimal, then into the percentage of the total length of the side of the record the track is on, and then into a degree to be used on the pie chart.[16] All six pie charts were colour-coded, and those colours are used throughout the artwork, including the textless CD and vinyl labels. Release Selected Ambient Works Volume II was released in the United Kingdom by Warp on 7 March 1994.[19] Warp released Selected Ambient Works Volume II on double compact disc, double cassette and triple vinyl, and later also on digital formats for download.[19] The album charted in the United Kingdom on 19 March 1994 where it debuted and peaked at the 11th position on the charts.[11] The album sold 9,336 copies in its first week of release.[20] It stayed on the charts for three weeks.[11] The CD pressings omit the 19th track for space reasons. Sire released the album on compact disc on 12 April 1994.[21] The US pressing omits the 4th and the 19th tracks.[22] The album was re-issued on vinyl by 1972 Records on 6 March 2012, though the master was made from a US CD copy (see tracklist for details).[23] In 2017, James added the album to his own web store, and included not only a 26th track, but made the 19th track available in a digital format for the first time since its inclusion on an ambient music CD compilation entitled Excursions in Ambience: The Third Dimension, also released in 1994.[14] By July 1994, it had sold over 60,000 copies outside the United States.[24] Reception Professional ratings Review scores Source Rating AllMusic [22] Chicago Sun-Times [25] Entertainment Weekly C[26] Pitchfork 10/10[27] Q [28] Resident Advisor 5/5[29] Rolling Stone [5] The Rolling Stone Album Guide [1] Select 4/5[30] The Village Voice B−[31] Spin gave the album a positive review, with critic Simon Reynolds stating that the album has "plenty of the shimmeringly euphoric and majestically melancholy tunes that have won James so many devout fans," but that it "will leave you not so much blissed as spooked out."[32] Rolling Stone's Jon Wiederhorn stated that "While many of his disciples have done little more than propel New Age atmospheres into the computer age, producing comforting but often emotionless elevator music, James has used the medium to confront his shadowy demons, exploring realms of spooky, textured sound."[5] He concluded that the album "provides a visionary perspective on ambient electronic music."[5] Clark Collis of Select stated that "Anyone who thinks they know what to expect on the basis of 'Volume I' might care to sit down, have a nice cup of tea and prepare themselves for a shock."[30] Collis noted the album was not successful "as a conventional dance record", but "as an album to wallow in at 5am while watching the wallpaper conduct a heated argument with the lightshade, it is indeed the knees of the bee."[30] Other reviews were less favourable. Robert Christgau, writing in The Village Voice, critiqued positive reviews of the album by fellow critics Frank Owen, Simon Reynolds, and J. D. Considine, contending that "James is rarely as rich as good [Brian] Eno, not to mention good Eno-Hassell or Eno-Budd", and that "these experiments are considerably thinner ("purer," Owen wishes) and more static ("pulse dreamily," Considine dreams) than the overpriced juvenilia on the import-only Volume I."[31] Entertainment Weekly critic Charles Aaron wrote that "At its best [the album] is an avant-garde score in search of a postapocalyptic theater piece, à la Philip Glass. More often, it's chamber music for humorless cyber-nerds".[26] Retrospective reviews At the end of the decade, Selected Ambient Works Volume II was included on several publications' lists of top albums of the 1990s including Rolling Stone and Spin.[33][34] Commenting on the audience's reaction of the album in 1999, Simon Reynolds stated that "many in the Aphex cult were thrown for a loop" and that "Aphex aficionados remain divided" on the album.[33] Rolling Stone stated the album was James creating "an enriched, wraparound style of burp-and-whoosh programming, the perfect soundtrack for pulling the pieces of your brain back together after spilling them all over the club floor. The first dance album to celebrate the rhythms in your head."[34] Spin placed both Selected Ambient Works 85–92 and Selected Ambient Works Volume II at number 56 on its list of the top albums of the 1990s, calling it "an awe-inspiring feat of avant-techno texturology".[33] Online music magazine Pitchfork placed the album at number 62 on its list of top albums of the 1990s, stating that it "spurred on one of the great trajectories of pop music in the 1990s, influencing everyone from Radiohead to Timbaland".[35] Pitchfork later ranked the album second on its 2016 list of the best ambient music albums of all time.[36] Giving added historical context of Volume II initially confusing some listeners expecting a techno LP based on its name, Resident Advisor gave the album a 5/5 for its 25th anniversary, stating that it brought "atmospheres to life with intensely vivid sonic textures" and "[as] artists and fans alike, we all owe something to this strange masterpiece."[29] Legacy and influence Pitchfork noted that Selected Ambient Works Volume II was "a very early example of a record being anticipated, experienced, and, ultimately, analyzed in minute detail through online communication."[37] Pitchfork noted that the Electronic mailing list titled IDM (Intelligent dance music) had a profound influence on how the album would be received in the future, noting that the community's influence has to do with the album's mysterious non-titles.[37] List member Greg Eden, who kept a detailed discography, gave the tracks names based on a word or two that related to the corresponding images.[37] Eden would later work for Warp, the original label that released Selected Ambient Works Volume II.[37][38] Simon Reynolds noted that the album signaled a shift in techno and ambient music toward a darker sound reminiscent of Brian Eno's notion of "environmental music".[39] A book written by Marc Weidenbaum (a music journalist and former editor of Tower Records's in-store magazine Pulse!) about the album was released in the 33⅓ series on 13 February 2013.[37][40] The series are short books inspired by or focused on albums and are generally written as longform essays.[40] Track listing None of the tracks are given titles on the original release of the album, with each track instead represented by a photograph in the album's artwork. The titles on digital releases of the album simply number the songs from 1-24. The track "Blue Calx" was released prior to the album on a compilation, from which the name is taken. Unofficial titles based on the photographs were popularised by a fan, Greg Eden, and are indicated below. The 2017 bonus track "th1 [evnslower]" is known from its digital release and "Radiator" was officially named on Warp's Peel Session 2. [41] CD pressings[a] All tracks are written by Richard D. James Disc one No. Title Length 1. "Cliffs" 7:27 2. "Radiator" 6:34 3. "Rhubarb" 7:44 4. "Hankie" ([b]) 4:39 5. "Grass" 8:55 6. "Mould" 3:31 7. "Curtains" 8:51 8. "Blur" 5:08 9. "Weathered Stone" 6:54 10. "Tree" 9:58 11. "Domino" 7:18 12. "White Blur 1" 2:43 Total length: 79:42 Disc two No. Title Length 1. "Blue Calx" 7:20 2. "Parallel Stripes" 8:00 3. "Shiny Metal Rods" 5:33 4. "Grey Stripe" 4:45 5. "Z Twig" 2:05 6. "Windowsill" 7:16 7. "Hexagon" 5:58 8. "Lichen" 4:15 9. "Spots" 7:10 10. "Tassels" 7:30 11. "White Blur 2" 11:27 12. "Matchsticks" 5:41 Total length: 77:00 UK vinyl and cassette pressings Side one No. Title Length 1. "Cliffs" 7:27 2. "Radiator" 6:34 3. "Rhubarb" 7:44 4. "Hankie" 4:39 Total length: 26:24 Side two No. Title Length 1. "Grass" 8:55 2. "Mould" 3:31 3. "Curtains" 8:51 4. "Blur" 5:08 Total length: 26:25 Side three No. Title Length 1. "Weathered Stone" 6:54 2. "Tree" 9:58 3. "Domino" 7:18 4. "White Blur 1" 2:43 Total length: 26:53 Side four No. Title Length 1. "Blue Calx" 7:20 2. "Parallel Stripes" 8:00 3. "Shiny Metal Rods" 5:33 4. "Grey Stripe" 4:45 5. "Z Twig" 2:05 Total length: 27:43 Side five No. Title Length 1. "Windowsill" 7:16 2. "Stone in Focus" (omitted from CD pressings) 10:11 3. "Hexagon" 5:58 4. "Lichen" 4:15 Total length: 27:40 Side six No. Title Length 1. "Spots" 7:09 2. "Tassels" 7:30 3. "White Blur 2" 11:27 4. "Matchsticks" 5:41 Total length: 31:47 2017 aphextwin.warp.net bonus track No. Title Length 13. "th1 [evnslower]" 11:07 Personnel Credits adapted from Selected Ambient Works Volume II liner notes.[17] Richard D James – writer, producer, liner notes, photography Prototype 21 – design "Sam" – photographs (not credited in liner notes)[16]

1200 Micrograms* – 1200 Micrograms 1200 Mics - 1200 Micrograms album cover More images Genre: Electronic Style: Psy-Trance Year: 2002 Ayahuasca 9:01 Hashish 7:40 Mescaline 6:31 LSD 7:54 Marijuana 7:47 Ecstasy 5:50 Magic Mushrooms 7:44 Salvia Divinorum 6:33 DMT 5:48