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Crushing Death Metal for fans of Morbid Angel ('Gateways' era), Dead Congregation, Immolation 

Icons of goth and doom, PARADISE LOST will release their long-awaited, 17th album Ascensionon September 19th. The band’s first album in 5 years, following 2020’s critically acclaimed Obsidian, was produced by guitarist Gregor Mackintosh and mixed/mastered by Lawrence Mackrory. Ascension is a testament to the band’s longevity and relevance over their 35+ year career, encompassing their signature styles of gothic, death and doom fans have cherished along the way.

Ascension’s album cover fittingly features the painting The Court of Death (1870-1902) by renowned British artistGeorge Frederic Watts, which hangs in the ate Gallery in London. The painting depicts Death as an enthroned angel flanked by allegorical figures of Silence and Mystery guarding sunrise and the star of hope, while a warrior surrenders his sword and a duke his coronet, showing that worldly status offers no protection. The painting’s bleak, prophetic vision embodies Ascension’s dark, tormented soundscapes as mournful verses collide with dire, foreboding riffs

official reissue on double CD

Track 1 - 5 was used for the PUNGENT STENCH side of the split with DISHARMONIC ORCHESTRA
Trak 6 - 7 were used from "The Pleasures In Life" compilation
Track 8 - 12 recorded live on 10.11.89 at Rockhaus Vienna (AT)

Limited to 300 copies in transparent red vinyl.

Track 1 - 5 was used for the PUNGENT STENCH side of the split with DISHARMONIC ORCHESTRA
Trak 6 - 7 were used from "The Pleasures In Life" compilation
Track 8 - 12 recorded live on 10.11.89 at Rockhaus Vienna (AT)

+ANCESTRAL BLACK METAL+ Remastered reissue of debut full-length by Dutch-Chilean band INVUNCHE. Featuring the original cover art and never before released lyrics. II is inspired by Ildjarn, Dawn of Humans and Bone Awl, channeling vile black metal punk into two seamless psychedelic.

Bleed’s introductory EP ‘Somebody’s Closer’ was initially self-released by the band through digital platforms in 2021. Despite no physical release at the time, the EP, invoking late 90s / early 00’s era alt rock / metal gained the Dallas, Texas-based band a lotta buzz with its gauzy distortion balancing tension and atmosphere, and via several mutual connections came to the attention of 20 Buck Spin. The label issued vinyl and cassette editions in 2022 bringing Bleed’s music to new audiences and wider attention. Since that time the anticipation for the band’s debut full length has built to fever pitch, and at long last it arrives as Spring heads into Summer.  

Bleed’s self-titled LP maintains the melodic heaviness and tight song structures of the EP, while diving headfirst into the oceanic haze, pushing their sound into territory more immersive, relentless and hypnotically lush. Guitars surge and sway in stacked waves of gravitational angst, overdriven rhythms eccentrically pulsing beneath, and guitarist / singer Ryan Hughes’s voice floating in and out, sometimes distant and detached, sometimes cracked open with desperation. Lyrics move in fragments, alluding to themes of deep internal struggle, coping mechanisms and hurting those you love most. It’s music that doesn’t so much demand attention as seeps straight into the bloodstream, the kind of album that endlessly loops in the back of the mind at 3 a.m. 

Bold strides are taken right outta the gate to make the authenticity of Bleed’s universe more expansive in its inspirations and ambitions. There’s a confidence to the way Bleed let’s these songs unfold, they make their impact immediate and have no need to persist longer than necessary. The result is an album that feels massive yet intimate, brutal yet beautiful, familiar yet singular. It doesn’t simply leave an impression, it lingers, reverberating long after the final notes have faded.