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Blood Red

After the reckless barbarity of 2017’s Poisoned Blood 12-inch, Portland’s Witch Vomit dig deeper into the ground than ever before, disinterring Buried Deep In A Bottomless Grave, their second full length torrent of skullbashing wormridden horror from beyond. On this new album the band moves toward perfecting the surgical fusion of the driving Scandinavian-style violence and subconscious terror they’ve previously established, and a now gore-obsessed smashing of their American forbears. Subtlety is abolished for savage attack, imprinted on the listener’s withering mind like an impulsive stab to the throat from a crazed stranger, while all the while a dreadful sense of eerie melody rings throughout the album. With the permanent addition of second guitarist C.L., Witch Vomit achieve heightened levels of primal regression and blood-soaked madness. Buried Deep In A Bottomless Grave is a deadly addition to their growing catalog of atrocity.

Returning with their third scathing blast of profane black death metal, England’s Wode now join with 20 Buck Spin to unleash ‘Burn In Many Mirrors’, their most potently wild and predatory work yet. With six new tracks spanning 40 minutes of meticulously summoned infernal ferocity Wode scorch the landscape and drape it in the foul reek of death’s fog.

Upon the release of the first full length album Entropic Reflections Continuum: Dimensional Unravel it was instantly revealed that VoidCeremony were treading a path few walk. The album proved that death metal can be performed with the gliding, controlled chaos and smooth fluidity of a jazz quartet, while still leaving the listener holed up in a dungeon, low on HP, out of spells, and surrounded by deadly demons.

Threads Of Unknowing is a journey which resurrects concepts on earlier display and summons evermore progressive and technical compositions. Mastermind and guitarist / vocalist Garrett Johnson and guitar virtuoso Phil Tougas (Atramentus, Chthe’ilist, Worm, First Fragment) share both vocals and lead guitar duties here, while bass god Damon Good weaves both fretted and fretless bass mastery and drummer Charlie Koryn encompasses not only speed and brutality, but a fine mix of precision and improvisation from jazz fusion. The end result is VoidCeremony and their signature sound: time-melting death black fusion.

With an apt cover painting representing the lyrical and philosophical vision of an ancient and forgotten future, VoidCeremony itself seems to be operating on an alternate death metal timeline that once made itself known, but only briefly, and was soon left behind for more commercial appeal. Yet the portal has been re-opened and the merging of these boundless possibilities and directions are now being brought forth directly once again.

 With four standout albums over the course of the last eight years, the effect of Vastum’s influence has by now seeped out onto the wider underground death metal scene, leaving an indelible mark due to their singular amalgam of aural primitivism and aesthetic originality. Their most markedly refined and tortured oblation to date, Orificial Purge represents the dominant return of Vastum, a death metal band founded on the lived experience of mutilated minds and bodies.

• Acclaimed death metal band includes members of Acephalix, Necrot, Ulthar, Mortuous, Ionophore, etc.

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.

• One of two simultaneously released new albums by Bay Area surreal blackened technical death metal band
• Each album cover is half of a larger original piece created for the band by Ian Miller (Stormkeep, Bolt Thrower, Games Workshop)
• 2020 album Providence was widely hailed for its unique style of death metal
• For fans of Atrocity, Enslaved, Gorguts, Demilich, Krallice, Voidceremony, Tomb Mold, Suffering Hour

• One of two simultaneously released new albums by Bay Area surreal blackened technical death metal band
• Each album cover is half of a larger original piece created for the band by Ian Miller (Stormkeep, Bolt Thrower, Games Workshop)
• 2020 album Providence was widely hailed for its unique style of death metal
• For fans of Atrocity, Enslaved, Gorguts, Demilich, Krallice, Voidceremony, Tomb Mold, Suffering Hour

After releasing three albums in three years and then spending the next four in the wilderness, Tomb Mold has been reborn on fourth album The Enduring Spirit, a thoroughly unabashed step into vast new territories. Yet for all its frenetic daring and audacious exploration, it is never anything other than unmistakably Tomb Mold.

While the expanding Tomb Mold architecture could be heard on last year’s self-released Aperture Of Body tape, it comes into clear focus throughout The Enduring Spirit. Certainly Derrick Vella’s time creating within and expanding the doom genre in Dream Unending has seeped into the flesh of Tomb Mold, not to mention Payson Power and Max Klebanoff’s explorations in their own Daydream Plus project.

With album opener “The Perfect Memory (Phantasm of Aura)” the band’s angular dimension shifting riffing appears right out of the gate as the track travels through varying degrees of progressive death metal and some of the band’s most extreme material yet. “Will Of Whispers” enters with a jazz-like fantasy sequence before careening into a blinding white light barrage, tasteful guitar leads and back to a dreamy serpentine pattern, encompassing whole universes in its nearly seven minute run-time.

(..)" ma è l’intera tracklist a rivelare il rinnovato spessore artistico dei canadesi; la conferma inesorabile della loro maturazione arriva proprio ascoltando il disco nel suo insieme, nel cui sviluppo il gruppo riesce nell’impresa di catalizzare mood fondamentalmente classici senza mai cadere nella trappola della prevedibile derivazione, sfoderando riff esaltanti e pillole di vero ingegno a cadenza regolare. Smisurata passione e un indubbio background da veri death metal fan completano il quadro. I Tomb Mold sono diventati grandi.(..)

taken from Metal Italia

After six years in deathlike repose, Predatory Light returns. From beneath churchyard stones, the bare, ruined choir sets forth to drape the world in its nocturnal lightings. Once again established in the spiritual desert of the southwest, the devil’s quartet has been reanimated by the same infernal regents that compose the deadly Superstition. As a result, the four musicians that conceived ‘The Anatomy of Unholy Transformation’, in Predatory Light, delve into far bleaker corners of their dark twisting subconscious. “Death And The Twilight Hours”, the second album from Predatory Light is comprised of four towering mazes of infernal technicality, ancient evil, and eerie church nightmare Black Metal of the South European and South American style. These four hymns conceptually meditate on the triumph of death during times of plague, focusing on the psychological terror and rapture of humanity’s impending doom. Borrowing imagery from Boccaccio’s account of the plague in his native Florence and inspired by Lucretius’ record of the Athenian Plague, Predatory Light explores the historical mindset of human sin and torment- evoking the archetypal personification of death as it tethers human consciousness to the realm of earthly suffering. The sinister, spectral guitars that drift like cemetery mist over everything and beckon for release tell the story on “Death And The Twilight Hours” as much as the scathing diseased vocals guiding the path. Now resolutely ascendent, Predatory Light’s return heralds the second coming of one of US black metal’s immense outliers.


 

Digipak CD
First Oranssi Pazuzu album reissued at last.
“During the last few years we have had many people asking from us about the availability of our earlier albums, the vinyl versions of both and also the debut cd being sold out for some time now. We have been promising a repress basically since 2011, when the vinyls first came out, and we are very happy to say this is finally being realized.
To us both Muukalainen puhuu and Kosmonument nowadays sound something like a different band, but they still embody many of our principal musical ideas in songs like Korppi or Kaaos hallitsee