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Yet these tracks also have the added dimension of pure necromantic shred via new guitarist Wroth Septentrion (Atramentus, VoidCeremony, Chthe-ilist, Hulder live). The B-side reveals a different yet complimentary stylistic command, one alluded to in past incarnations and now fully actualized-that of the clandestine dimensions of black metal's unfathomable darkness and shrouded mysteries. \"Invoking The Dragonmoon\" is a ritual gate opening into this obscure galaxy, while \"Shadowside Kingdom\" denotes the arrival to the remote twilight stronghold at the edge of blackness where Phantom Slaughter's tyrannical celestial necromancy can flourish undisturbed by mortal disquiet and axe-wielder Nihilistic Manifesto crafts a thousand spires of darkly cascading melodies-simply one of the best symphonic black metal tracks since the styles late '90s apex. 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From the frozen northlands, Atramentus unveil the icebound agony of the monolithic Stygian. Birthed on a cold winter night in 2012 and during an autumnal sunset in 2013, the cursed tale remained dormant for years, only recently being put to tape so the nameless knight's saga could be told.Granted immortality through the gift of the God's sword, the nameless knight eventually witnesses the death of the sun and the end of all life on Earth. Surviving the great deluge, he is left to wander amongst the ruins of a now frozen earth under a sunless sky for eternity, alone and unable to die even by the scorching-cold blizzard winds around him, enduring perpetual physical torture while haunted by the memories of his past life and everyone he once knew buried under miles of ice.Each of the three epic songs contained within differ widely to reflect the changing of autumn to perpetual winter. While adorned in the language of extreme funeral doom and dark ambient soundscape, Atramentus owe further debt to epic doom metal in sound and aesthetic and black metal's anguished ferocity. But always the arc of Atramentus remains bound to the tumultuous melancholy and guttural immensity of extreme doom.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStygian I: From Tumultuous Heavens... 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Birthed on a cold winter night in 2012 and during an autumnal sunset in 2013, the cursed tale remained dormant for years, only recently being put to tape so the nameless knight's saga could be told.Granted immortality through the gift of the God's sword, the nameless knight eventually witnesses the death of the sun and the end of all life on Earth. Surviving the great deluge, he is left to wander amongst the ruins of a now frozen earth under a sunless sky for eternity, alone and unable to die even by the scorching-cold blizzard winds around him, enduring perpetual physical torture while haunted by the memories of his past life and everyone he once knew buried under miles of ice.Each of the three epic songs contained within differ widely to reflect the changing of autumn to perpetual winter. While adorned in the language of extreme funeral doom and dark ambient soundscape, Atramentus owe further debt to epic doom metal in sound and aesthetic and black metal's anguished ferocity. But always the arc of Atramentus remains bound to the tumultuous melancholy and guttural immensity of extreme doom.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eStygian I: From Tumultuous Heavens... 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Witch Vomit's dominant stretch of dynamic evolution within the scope of their concentrated stylistic framework has reached a new pinnacle with Funeral Sanctum. 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Evolving beyond earlier EP and demo releases, Cascading Misery encapsulates the bludgeoning infliction of pain and the slow peel of skin by flame, rife with both sonic chaos and extinguished hope.From the outset of album opener \"Obsidian Mirror\" the atmosphere is oppressive, thick with a suffocating malaise. There is a sense of something ceremonial at work but not in a way that seeks communion. Rather it's ordeal as sacrament. Riffs strangle and churn into convulsive submission, oscillating from slow agony to psychotic break, over which a guttural lament so savage it freezes the blood is wrenched through dungeon stone. Each track unfolds like time spent in isolation, bound by chains, the mind slowly unraveling and surrounded by memories of torment both real and imagined.By the time the epic fourteen-minute album closer 'Disquiet' dissipates into a mass of formless static, Ritual Mass have dragged you into a world where suffering is not an end but a condition of existence. 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Yet just as expediently, a malodorous new organism arose in it's place, Corpus Offal. Still featuring Cerebral Rot's rancid core of Ian Schwab (guitar \/ vox) and Clyle Lindstrom (guitar), the Corpus Offal rhythm section of Jason Sachs (bass) and Jesse Shreibman (drums) now summon intensely elevated waves of stomach-churning nausea. After last year's demo defloration, Corpus Offal presents it's self-titled full length erupting like a festering corpse dragged from a midnight sewer; putrid, pulverizing and perversely invigorating.A bludgeoning autopsy of death metal, gore and deathgrind, the low-tuned grooves, discordant leads and mid-tempo rumble of Cerebral Rot is evident in tracks like \"Spinous Forms Of Mortal Abhorrence\" and the title-track while setting the bar for a melted transformation into more ghastly liquified forms. The gargling slime vox of Ian Schwab are dangerously radioactive, summoned straight from the sealed basement of a nuked morgue narrating a splatter-fest of morbid poetry, decomposing flesh, absurd experiments, and gruesome transgression. Each song plays out like a medical examiner's case file crossed with the fevered ramblings of a psychopath-precise in it's anatomical horror and repugnant in it's bizarre depravity.Consecrated with an impossibly heavy Billy Anderson production, by the time Corpus Offal reaches it's cataclysmic conclusion, you're left drained, disoriented, and left wondering whether you've survived a masterpiece or witnessed the musical equivalent of a snuff film. So enter the crematorium, inhale deeply and be filled with the corporeal intoxication of Corpus Offal's carnage. 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Since 2013 Finland's Oranssi Pazuzu has released two critically lauded full length albums via 20 Buck Spin in North America, 2013's Valonielu and 2016's Värähtelijä. Both albums showed the boundless enormity and remarkable uniqueness that this band alone creates. Are they a psych-influenced black metal band or a black-metal-influenced psych band? No one knows for sure and it doesn't matter anyway-no other band bends these genres into such an extraordinarily cohesive whole. For most in North America, the Oranssi Pazuzu black hole only came into focus with the aforementioned last two albums. However, the band has previously recorded and released two full length albums and a split LP. With their growing reputation here, their back catalog has become increasingly in demand. 20 Buck Spin will now present the band's back catalog on various formats domestically for the first time. Muukalainen Puhuu is where the Oranssi Pazuzu story begins. This 2009 debut full length already reveals a band with a firm conceptual and musical mission. 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With membership from the blinding light regions of Portugal, The Ominous Circle is a burning black sphere of sinuous torment taking shape over their native land. Appalling Ascension is their initiation into this upper physical world, undulating like a prophesied curse into the increasing chaos of modern \"life.\" While the reverent tropes of contemporary death metal will be recognizable to Circle adherents, the cauldron is mixed in myriad conjurations that stray from the safety where inferior forces are prone to linger. Moments of oppressive death doom, grinding blasts of mania, rancid melodies and mid-tempo dynamic necromancy on tracks like \"From Endless Chasms\" and \"As The Worm Descends\" canonize these odious psalms into timeless lore. The obsession of late by some to ignore songwriting in favor of cavernous ambient suffocating evil doesn't play on Appalling Ascension - here instead, and most welcome, are crushing and barbarous dark death metal songs to which initiates may devote themselves, as it enters into the pantheon of memorable debut recordings. 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Three full length albums, Absolution, Hunted and Desolation, a split EP with Spirit Adrift, a Decibel Magazine flexi and multiple tours and festival appearances throughout North America and Europe. As Khemmis continues work on their fourth album and first for Nuclear Blast Records, the band offers up Doomed Heavy Metal to close out the first chapter in their ascendent march to the top.For the band's ever expanding fanbase, Doomed Heavy Metal offers a treasure trove of rare material to temporarily sate the hunger for that highly anticipated new album. Never a band to shy away from a challenge, their cover of the legendary \"Rainbow In The Dark\" by Ronnie James Dio is a triumphant and energized tribute to the ultimate God of Heavy Metal that in the hands of a lesser band might be anything but. Recorded exclusively for this release, the song takes on new life in the signature Khemmis-style, making it their own without betraying the ideal of the original.Additionally, this release contains the band's rare and storied interpretation of \"A Conversation With Death\" and the much requested Decibel flexi track \"Empty Throne\". The B-side offers three huge live tracks, one from each of the three 20 Buck Spin released full length albums. 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Experts familiar with prior activity of the organization note that these sonic movements align with earlier warnings of revolutionary activity, with networks mobilizing resources for a techno-industrial event of uncertain but potentially catastrophic magnitude and destabilizing influence, felt especially on \"Speed Of Sound\" featuring Iggor Cavalera.With an atmosphere of secrecy pervasive, these nebulous communiques have a persistent momentum, consistent with preparations. The density of sound layers indicate reconnaissance-global photography, encrypted kill webs-woven into forms that stand to conceal as much as disclose.20th Hijacker synchronizes post-Desert Storm-era paradoxes between the world's fastest surveillance plane at the time which was unarmed and the guerrilla weaponization of commercial aircraft-foreshadowing the essence of the ongoing war on terror-the merger of special operations and espionage within both opposing adversaries. 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The blistering percussive onslaught crashes like hooves on dead earth as the band's savage ferocity erupts like a war-cry cast into the heavens, crowned in ruinous splendor. Coscradh fully inhabits this domain between worlds, breathing into their work the fury and spiritual force of a people who carved truths into land, sky and grave.A communion of druidic science and blood, ritual aggression and linguistic resurrection, Carving The Causeway To The Otherworld compels a celestial reckoning where fate itself is flung upon the altar. Like gods that ride the firmament, Coscradh's cold cruel radiance falls upon all who hear it. The record is a cosmic execution, binding together the bygone causeways, war gods, stone idols and star-born forces that the druids sought to harness. 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America is a tinderbox. Lockdowns, pandemic, police brutality, kleptocracy, the orange menace. The injustice system is alive and well. Since day one Terminal Nation has been shining a light on it all through their crushing music, point blank lyrics, merch and media, lashing out at institutional corruption and racist power structures. And not from a liberal coastal enclave where it's a generally welcome message but from Deep Red Arkansas. Now with Holocene Extinction at hand, Terminal Nation return at a pivotal moment, where lines are being drawn and the possibilities of compromise are going up in smoke. Like fuel to the fires of dissent the band's brutally heavy amalgam of metallic hardcore, death metal and power-violence eviscerates with unforgiving sincerity the recognizable and the insidious forces propping up the White Supremacy machine. Events are moving fast now, the dominoes are falling and everyday it's more apparent a reckoning is at hand. 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Chicago's most uniquely harrowing and technically ferocious chaos unit Immortal Bird are back with their highly anticipated third album. 2019's Thrive On Neglect saw the band maneuvering through an amalgam of sounds, blossoming into a warped and angular display of multi-layered anguish, that now serves as a springboard for further expansion on new album Sin Querencia. Abandoning genre constraints, Immortal Bird coherently fuse elements of death and black metal, hardcore tumult, a dose of their city's noise rock agitation, and a compositional complexity that recalls stalwart boundary-pushers like Gorguts and Ulcerate. Recording as a three-piece on Sin Querencia, guitarist Nate Madden recorded the majority of bass along with multi-instrumentalist bandmates Rae Amitay and Matt Korajczyk. The trio have evolved their collaboration to forge a cacophonous maelstrom of jagged metal intricacy with a surgical clarity, seeing the combination of Madden on guitar and Korajczyk on drums at it's most centered and engaging. Amitay gives another heart-rending and diverse vocal performance over the frenzied tempest the band lay down, riven with a focused and energized hostility. They also utilize dulcet and haunting layers of clean vocals on opener \"Bioluminescent Toxins\" in a quieter moment demonstrating the band's dynamic abilities and desire to broaden their sonic horizons. Amitay's thought-provoking lyrical range weaves through visceral subject matter, threading together allegory and allusion in vehement admonishments of hypocrisy, as well as confronting the brutal complicity and complacency in current reality.Featuring cover art by the band's longtime artist of choice Kikyz1313 and aggressively muscular production from Pete Grossmann of Chicago's Bricktop Recording, Sin Querencia marks a new milestone in Immortal Bird's now ten-plus year history as the band's most structurally extreme and wide-ranging performance to date.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eBioluminescent Toxins\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003ePlastered Sainthood\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eConsanguinity\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003ePropagandized\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eOcean Endless\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eSynthetic Alliances\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eContrarian Companions\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eSin Querencia\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 810079501823\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e 20 Buck Spin\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.15.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Immortal Bird","offers":[{"title":"Default Title","offer_id":45561214075078,"sku":"253777","price":28.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4370244-3233496.jpg?v=1771965463"},{"product_id":"choir-of-babel-lp","title":"Choir Of Babel [LP]","description":"\u003cp\u003eNew York's Ruin Lust have spent the better part of the last decade spreading a drape of black violence across the dank basement corners of the deepest underground. 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Tribunal took their time and crafted an opus of enormous scope to echo evermore through halls long abandoned. Having expanded into a fully fleshed out five piece band and live unit, In Penitence And Ruin has a wider lens of cohesion and maturity weaving together the widow's wail of doleful strings, chilling keys and percussion that tolls like the iron bell of fate. These elements ornament the monolithic foundation of crushing dirge and funereal melodies hewn from the marrow of sorrow itself. The duality between the wistful, impassioned singing of vocalist \/ cellist Soren Morne and agonized growls from guitarist \/ vocalist Etinne Flinn bind with resolute tread and stride forth into darkness, traversing a path lit only by the pale glow of distant lament.Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in it's embrace of the penitent and eminently listenable as a scripture of loss. 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Joining them on the split is Japan's ultra heavy kingpins Kruelty, fresh off tour dates in both the U.S. and Europe after releasing the furious A Dying Truth and Immortal Nightmare in 2020. Reinforcing the fact of being one of the heaviest bands on the planet, Terminal Nation offer three new tracks on the A side, declaring all out war on the imperial masters pulling the world's strings. The darkness of death metal and Bolt Thrower's tank march matched with the ferocious power of the hardcore breakdown, the songs are teeming with a nation's rage on the brink of boiling over into full blown chaos. Kruelty similarly have found the sweet spot where hardcore meets old school steamrolling death and doom metal. \"Suppression\" and \"Under Your Pressure\" reveal some of the bands most punishing, structure-leveling riffs and bloodied beatdowns to date. 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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. 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The dark, seedy underworld of New York City once again emerges as the cityscape is tainted by sewage, crack smoke and the trade of flesh. The streets, once bustling with life, permeate with the grotesque and filth-ridden chaos of yesteryear. Among these harsh realities, within the walls of the dimly lit alley ways, a stench reeks of bodily fluids and rat feces. On the subway platforms, desperate souls engage in random acts of violence on one another over a few measly bucks. The East River runs a sickly green and the city's hue mirrors the shadows cast by these illicit endeavors. Amid this unsettling somber reality a soundscape to capture the horror is now realized in the form of Gravesend's second album.The new album Gowanus Death Stomp compounds the cruelty displayed on 2021 debut Methods Of Human Disposal into an ever more gritty and primal barrage of violence. At the crossroads of criminal depravity and urban malaise, Gravesend utilize many tools of the trade. 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With their third full-length, 2009's The June Frost (referring to the Winter season in the band's home of Australia, of course), Mournful Congregation finally secured a proper North American release on the small Enucleation Records label. And though this helped to increase the band's status in the States, the label unfortunately ceased to operate not long after the album came out and Mournful Congregation were once again without support-until joining forces with 20 Buck Spin in 2011. Thankfully, the quality of material on The June Frost-another eight tracks of freezing white, solemn and progressive funereal doom-achieved the first real accolades for the band from the wider metal press. Consisting of four primary extended songs and four shorter instrumental passages in between, it echoes elements of the earliest Anathema recordings in terms of both heaviness and heartbreak. 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In combination these elements thread seamlessly to give Changelings it's colorful and uncanny vision, as if John Carpenter had co-produced Rust In Peace behind the iron curtain. It's bristling with sci-fi paranoia, alien terror and a hint of Cold War menace. The early convergence of thrash metal with death metal is also unmistakably present in the shape-shifting sound of Species.While there's more than enough primitive and traditional thrash bands to go around, Species embraces the genre's lesser-travelled road of forward-thinking virtuosity and inventive experimentation, showing there's still plenty of fertile ground to seed new musical territory. Nowhere is it more apparent than on 10-minute album closer \"Biological Masterpiece\", where Species displays all it's weapons; hyperspeed assaults, dystopian lulls and instrumental mastery, in a climatic saga beyond space and time. 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Out of that list a collaboration was born and now Species make their 20 Buck Spin debut with second album Changelings. A step up in every regard, Changelings is astonishing in it's accomplished precision and how much it manages to achieve within the scope of individual tracks and as a cohesive whole. The album features an overload of angular guitar warfare, traditional Euro-thrash aggression with a modern resonance, rhythmic percussive seizures, and intricate basslines that make their intention deeply felt, not just following the guitar but dialoguing with it in a way that offers a second melodic brain to the album. In combination these elements thread seamlessly to give Changelings it's colorful and uncanny vision, as if John Carpenter had co-produced Rust In Peace behind the iron curtain. It's bristling with sci-fi paranoia, alien terror and a hint of Cold War menace. The early convergence of thrash metal with death metal is also unmistakably present in the shape-shifting sound of Species.While there's more than enough primitive and traditional thrash bands to go around, Species embraces the genre's lesser-travelled road of forward-thinking virtuosity and inventive experimentation, showing there's still plenty of fertile ground to seed new musical territory. Nowhere is it more apparent than on 10-minute album closer \"Biological Masterpiece\", where Species displays all it's weapons; hyperspeed assaults, dystopian lulls and instrumental mastery, in a climatic saga beyond space and time. 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Coming on the heels of the band's most successful LP, 2024's *Duck Face Killings*, FULCI return with a special 12\" maxi single serving as the soundtrack to the short film *Risorsero dalla Tomba e Fu... L'Apocalisse!* (\"They Rose From the Tomb and It Was... The Apocalypse!\"). Created in collaboration with director Domenico Montixi, the 30-minute film merges paranormal horror with Spaghetti Western atmosphere, drawing direct inspiration from Lucio Fulci's *City of the Living Dead* and *Four of the Apocalypse*. The film is set to begin it's international festival run soon, with a trailer premiering at FULCICON 2 in Milan. The maxi single features a suite of new FULCI compositions that drift between eerie, cinematic soundscapes evoking the Lovecraftian aura of Fulci's films, and the band's signature Gore-Giallo Death Metal. It also includes a special cover of Fabio Frizzi's \"Apoteosi Del Mistero\" from *City of the Living Dead*. *Risorsero dalla Tomba e Fu... 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