Nice price

200 copies Limited edition

Italian long-standing black metal pioneers Funeral Oration are back with their third album. Originally formed in 1989 in Taranto, Apulia, the band released their debut album Sursum Luna in 1996 on Avantgarde Music before dissolving the following year. Twenty years later, in 2017, guitarist and keyboardist Luca La Cara and singer and lyricist The Old Nick brought Funeral Oration back from the dead to release their sophomore album Eliphas Love in 2019, again via Avantgarde Music.

Five years have passed already, and the time has come for a new chapter. Antropomorte sees La Cara and The Old Nick banding with bassist Iblis (Handful Of Hate) and drummer David Folchitto (Stormlord and many others) to craft seven hymns of old-style, essential black metal from the ‘90s. As Funeral Oration describes it, Antropomorte is “a desperate litany of decadence and mystical delirium. Marcia funebre per il genere umano.”

Once again we deal with poetry, occultism and antichristian sentiment thanks to lyrics directly inspired when not directly translated from poets and artists from different ages. “Amor Obsessio” is a direct translation made by The Old Nick from ”La morte embaumée” by M. Rollinat (1883), “Cloaca Cattolica” (“Catholic Sewer”) is inspired by true events occurred in Varazze in 1907, “Il Serpente Della Genesi” (“Serpent from the Genesis”) is another translation from “Lilith” by R. de Gourmont (1892) and so is “Notturno Sepolcrale”, translated from “Ténèbres” by A. Samain (1895). “Stregheria”, on the other hand, is a direct quotation of Salvator Rosa’s “La strega”, from 1646.

"Purple" with clear, marble effect vinyl

By Magnus' own words "The origin and exact recording date of these two tracks are a mystery to me: I don't know when or why or how I made them" you can expect something unique from this release. 

"Scarlet red" with clear, marble effect vinyl

By Magnus' own words "The origin and exact recording date of these two tracks are a mystery to me: I don't know when or why or how I made them" you can expect something unique from this release. 

 The hauntingly grandiose new Hulder album Verses In Oath, created during the dreariest cold months of the Northwest winter, constitutes the most majestic, untamed manifestation thus far in the band’s journey of conquest, as new territory is put to flame and conquered by sword and shield.

• Majestic black metal from the colds of the Pacific Northwest

INFESTDEAD's “Satanic Serenades” unites all recordings by this Swedish death metal act led by Dan Swanö (Witherscape, ex-Edge Of Sanity, ex-Bloodbath), including the long deleted late 90's albums expanded with EP and demo material.
Remastered by Dan Swanö and featuring liner notes, all lyrics and updated artwork by Hjules (Destruction, Annihilator).
Legendary Swedish vocalist/multi-instrumentalist/producer Dan Swanö is perhaps best known for his work with Edge Of Sanity, Nightingale, Bloodbath, and recently Witherscape. Active since the early '90s, his career runs much deeper than this revered quartet, having produced seemingly countless bands from across the metal spectrum (Opeth, Dissection, Katatonia, Asphyx to name just a few) as well as launching or taking part in side projects including Moontower, Odyssey, Pan.Thy.Monium or Infestdead. The latter formed in 1993 and released two albums – “Hellfuck” (1997) and “Jesusatan” (1999) – plus EP/split releases.
From the debut EP “Killing Christ”, vocalist Dread (Tormented, ex-Marduk) and Dan had only one goal in mind: to create classic US inspired death metal like Deicide, Morbid Angel etc.!
The result was astonishing and in its remastered fashion sounds even more convincing and is blessed by Swanö's incredible songwriting talent. Even if it's just plain and violent death metal, Mr Swanö turns everything he touches into amazing music, be it prog or unholy extreme metal!
“Satanic Serenades” is an official 40+ tracks anthology release of the entire INFESTDEAD catalogue that now shall haunt the holy again!

gatefold, 24 pages booklet, 2 posters

black and white swirl vinyls

Sold out since a few years, here comes a new press in 'Aside-Bside' effect greeen with black vinyls

Emotionally raw and brutally savage release following in the tradition of 2015's Arpitanian Lands. Enisum have managed to mix elements of atmospheric black metal and doom metal into ten perfect songs for this album.


Ascolta su BandCamp

Darkness is falling. A cold wind blows from the snow-covered Carpathians, making the windows rattle and the corners of the house creak. Something is coming, eyes flashing red in the night and its footprints filled with grave dirt. What nocturnal terror is this? Why, it’s the arrival of the long-awaited third album by The Coffinshakers, folks.

While most bands quickly lose the spark, The Coffinshakers have stayed relevant – eternal like the undead. Though humor is their hallmark, there is also poignancy and something genuinely spine-tingling in their rugged, melancholy ballads. And this new offering shows them at the height of their baleful, campy power. They truly are a band that ages like fine wine – although vampires, of course, never drink… wine.

Much will be familiar to dedicated fans. Rob’s trademark malevolent chuckles still reverberate with sardonic glee, the deep rumble of his voice continuing to send all yellow-bellies hiding behind the barn. At the same time, his vocals have gained in both power and subtleness. The same goes for the guitar, bass, and drum work, now incorporating a broader array of classic Americana influences. These unholy badmen have drunk the blood straight from the neck of the authentic country, bluegrass, folk and other rootsy music of inbred US backwaters – and it has made their fangs sharper than ever.

And though The Coffinshakers still ride forth with tongue firmly planted in cheek, there is a new apocalyptic urgency to their third offering. From the marching drums of the desolate “Graves, Release Your Dead” to the echoing vocals of “River of Souls” and the cathartic cataclysm of “Down in Flames”, it all forebodes the imminent end of the whole dirty enchilada of existence. The band’s flippancy comes with a genuinely unsettling kernel of darkness – and black humor is always the most satisfying. Vampires may not cry, but we all know they laugh wickedly as they rise from the bone orchard.

Darkness is falling. A cold wind blows from the snow-covered Carpathians, making the windows rattle and the corners of the house creak. Something is coming, eyes flashing red in the night and its footprints filled with grave dirt. What nocturnal terror is this? Why, it’s the arrival of the long-awaited third album by The Coffinshakers, folks.

While most bands quickly lose the spark, The Coffinshakers have stayed relevant – eternal like the undead. Though humor is their hallmark, there is also poignancy and something genuinely spine-tingling in their rugged, melancholy ballads. And this new offering shows them at the height of their baleful, campy power. They truly are a band that ages like fine wine – although vampires, of course, never drink… wine.

Much will be familiar to dedicated fans. Rob’s trademark malevolent chuckles still reverberate with sardonic glee, the deep rumble of his voice continuing to send all yellow-bellies hiding behind the barn. At the same time, his vocals have gained in both power and subtleness. The same goes for the guitar, bass, and drum work, now incorporating a broader array of classic Americana influences. These unholy badmen have drunk the blood straight from the neck of the authentic country, bluegrass, folk and other rootsy music of inbred US backwaters – and it has made their fangs sharper than ever.

And though The Coffinshakers still ride forth with tongue firmly planted in cheek, there is a new apocalyptic urgency to their third offering. From the marching drums of the desolate “Graves, Release Your Dead” to the echoing vocals of “River of Souls” and the cathartic cataclysm of “Down in Flames”, it all forebodes the imminent end of the whole dirty enchilada of existence. The band’s flippancy comes with a genuinely unsettling kernel of darkness – and black humor is always the most satisfying. Vampires may not cry, but we all know they laugh wickedly as they rise from the bone orchard.

Four years and one pandemic on from Orificial Purge, Vastum, the longest running band on the 20 Buck Spin roster, offers up its fifth bludgeoning document of psychic malaise and lost faith with ‘Inward To Gethsemane’. As before, the abject disgust unsparingly captured in Vastum’s unique approach continues to drape the music with an aura of discomfiting unease. The cavernous density Vastum has made a core element of its discography remains as inhuman as ever, continuing to delve into darker atmospheres, yet never devolving into ambient murk; on the contrary it’s always punishing and with a fearsome momentum. The distinctively harrowing dual vocal attack of Daniel Butler and Leila Abdul-Rauf appears throughout ‘Inward…’; the possessed narrators of Vastum’s hellish underworld. Eight minute album closer ‘Corpus Fractum’ manifests a transformative and even experimental side of Vastum musically and vocally, while sustaining the characteristic merciless power the band is revered for across its five albums. Between the sporadic but legendary live performances and a worshipped discography of modern era true Death Metal, Vastum has become a torchbearer of the grisly and grotesque underground, both within its native Bay Area and well beyond. ‘Inward to Gethsemane’ carves another notch in Vastum’s totem of deviance.