Metal Blade Records history by Dan Slessor:
Founded upon owner Brian Slagel's enduring drive to find great bands and get their music out to as many people as possible, since 1982 Metal Blade has brought wave after wave of powerful, innovative, and often genre-defining music to the ever-hungry metal masses. It is this ethos that has seen Metal Blade build up a stunning and diverse catalogue, weather the various storms facing any independent label, and in an age of declining record sales boast the most successful years of its existence as it strides into its fourth decade.

What perhaps makes this achievement all the more notable is the fact that Slagel never even intended to start a label. Working in an LA record store and writing for various publications, Slagel was acutely aware that many great bands in the local metal scene were being ignored, and he decided to release a compilation of tracks drawn from these ranks. "There were a lot of really good bands and I was just bummed out that nobody could hear them. It just seemed like I could help them out and have some fun at the same time, and that compilation was the first Metal Massacre," he states. Collating tracks from then unknown bands including Ratt, Bitch, Cirith Ungol, and Metallica amongst others, the compilation sold out immediately. "How important is Metal Blade to our career? They're only the reason we are enjoying the worldwide success we have today," states Metallica's James Hetfield. "Without Brian's openness to some raunchy teens with a crap sounding cassette tape we would be who knows where, and playing who knows what!" With the popularity of the tape spurring Slagel on, the first seeds of Metal Blade were sown. "After the success of those compilations I just started putting out records of bands that I was friends with, but without ever really intending it to be a label at all," he explains. "After I put out four or five releases I started to feel like something was happening, and I decided to quit the record store and quit college and see where it went."

Battling through the first few lean years, when the label consisted solely of Slagel working out of his mom's poorly ventilated garage in the San Fernando Valley, it gradually grew in both revenue and stature. Within a few years Metal Blade would go on to release the debuts of Slayer, Armored Saint, Trouble, and Corrosion Of Conformity amongst others, fanning the flames of the burgeoning metal scene and launching careers of bands that would go onto reap global success. "Without Metal Blade, there is a damn good chance we never would've made it out of L.A," says Slayer's Kerry King. "That was the one bit of luck we needed. You can be the most awesome band on the scene, and if no one notices you, you don't catch on. And Brian Slagel is still one of the biggest metalheads I know!" This genuine love and devotion to metal is central to the relationship many of the artists have with Metal Blade, and King Diamond credits much of its relevance and strength to this passion. "I refer to it as having 'boots on the ground'," the mighty Dane states. "It's not like a major label where some people might be into what you're doing but a lot of them just see it as a job – there's a genuine love for metal there. Through staying true to that and doing their own thing they've carved out a very specific niche that they control, and as an artist it's wonderful to be a part of that."over the years. Clearly without those people we couldn't do what we do, and to everyone out there who has helped us along by being a fan we are so very grateful to you."

Read more: http://www.metalblade.com/us/about-us/

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Class-A's relentless work ethic as an MC has led to collaborations with a virtual all-star cast of Australian producers. Over 3 albums - and a mixtape - she's worked alongside M-phazes (Obese Records, Pharoahe Monche), Aoi (Wax Museum), BVA (Mnemonic Ascent) and Urban Monk aka Dyl Thomas (Polo Club). 2010's "Me, Me, Me & Him: The Secret Life of a Receptionist," led to a feature spot on Triple J Unearthed, radio play all over the country, and spawned a massive Australian tour alongside The Tongue and Spit Syndicate. Drum Media called the album "immersive, endearing and great fun." It's these traits that make Class- A's lyrics adaptable enough to be as suited to M-phazes traditional rap bangers, as they are to Urban Monks' future-fried space funk.

She's shared the stage with the likes of Dilated Peoples, Jean Grae, Talib Kweli, Lord Finesse, Rakaa, Ras G, Gift of Gab (Blackalicious) and J-Live, as well as national stalwarts The Hilltop Hoods, Urthboy, Mantra & Ozi Batla.

Her latest project 'The Baroness' is a collaboration with Melbourne beatmaker Aoi. Their self-titled release was dropped in January 2012 on an unsuspecting public, instantly becoming feature album on Triple J's Hiphop show. 

The Baroness reflects a different side of Class-A. Her flow maintains the character that so many found endearing on earlier releases, but there's a new attitude here, revealing a more calculated, colder edge. It really is like, as Aoi says "by night, Class A is an Eastern European, dark haired evil double agent for Cobra. With glasses." Not to mention that matching this vocal presence with Aoi's easy neck snapping drums, obscure samples and crusty vinyl loops, is a stroke of genius on a super-villainous level. 

Listen to the Baroness album here- www.thebaroness.bandcamp.com


With a signature smooth delivery and a mix of vulnerability & intricate rhyme schemes, Indighost is a true MC. Proudly hailing from the Nations Capital, Indighost has opened for international artists such as Oddisee, Black Milk, Blu & Apollo Brown.

INDIGHOST returns with new music in 2022 

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