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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 interntal 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 it's 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, familar yet singular. 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Witch Vomit's two previous releases, Abhorrent Rapture and Buried Deep In A Bottomless Grave, solidified and elevated their position as one of current US death metal's most potent and direct sources of expertly crafted cacophonous carnage. With a methodically relentless fervor and merciless aggression Witch Vomit have carved out a formidable reputation for barbarism with hooks so catchy they rend flesh from bone. On new album Funeral Sanctum, Witch Vomit expand the dark melodicism buried within the butchery of past releases, now sharpened into black obsidian and causticly fused with the band's hallmark brutality. The DNA within tracks such as \"Blood Of Abomination\" and \"Dominion Of A Darkened Realm\" invoke not the upbeat harmonies one hears in typical melodic death metal, but something more akin to the demonic evil might of early Dissection, gleaming in frozen darkness. The gore-soaked USDM ferocity remains the rotted core of the band's foundation. 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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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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A four track, twenty-six minute mini album, Bluenothing is an ominous nightside lament demonstrating where the always-evolving fog dwellers have been and the distant domains where they may yet venture. The A-side of Bluenothing features two tracks from the mythic Foreverglade sessions that remained encased in the phantom crypts but are no less masterly than the latter's ultimate six tracks. Indeed, the title track \"Bluenothing\" was at one time to be the album closer on Foreverglade and all the crushing weight and mysterious allure that made that opus a new classic remains on these two tracks. 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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The unexpected demise of Cerebral Rot came swiftly after two renowned cult albums. 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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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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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 \u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\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 810079501830\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","brand":"Immortal Bird","offers":[{"title":"Default Title","offer_id":58292619116625,"sku":"528076","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4370583-3233497.jpg?v=1760744256"},{"product_id":"starpath-lp","title":"Starpath [LP]","description":"\u003cp\u003eIn both 2021 and 2022, Dream Unending and Worm releases closed out the year at 20 Buck Spin. 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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. Black \/ death \/ grind \/ war metal all meld seamlessly into a tar pit of scathing back-alley sadism and acid-tongued vocals.Like a newly found corpse down by the docks, the smell of decomposition is wafting out of every track on Gowanus Death Stomp. 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With the new second album Dreaming The Strife For Love, Italy's Bedsore have jumped headfirst into the progressive warmth and obscure atmospheres of the 1970s. Inspired by the mysterious renaissance-era book Hypnerotomachia Poliphili, the album musically weaves the concepts of love as a battlefield, where desire and devotion are tested through trials and spiritual awakenings, with visions of pagan temples, mystical gardens, and arcane symbols.An aspirational and operatic aura envelops Dreaming The Strife For Love, from the longer compositions and spacious production to the extravagant and diverse instrumentation that includes 12-string guitar, copious use of synthesizers, mellotron and organs, fretless bass, percussion and horns; the dynamic range of the album embracing the most crucial elements of prog rock's lofty imagination. Though the progressive side of Bedsore has been given much more room to stretch out, the death metal foundations remain present in the DNA. Vocally throughout the album the agonized screams of Jacopo Gianmaria Pepe endure, and the manic dark death and blackened metal riffs now segue and merge into the whole more adeptly than ever before. This results in an album that, rather than feeling like two separate albums in one, embraces a coherence for both forms, to create a surreal, reality-bending immersion wholly their own. Lush, symphonic, ambitious and romantic in scope, Bedsore's Dreaming The Strife For Love is 2024's most surprising fusion of 70s progressive and dark death metal, old and new production elements, the passionate and the horrific. 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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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Abditum, the third full length album, unfurls with a sense of arcane design where twisting riffs clash and converge in unforeseen sequences. Composed by Wandering Mind (aka Garrett Johnson) the otherworldly riffing spirals into altered shapes, conjuring tones that veer between luminous clarity and abyssal murk. Joined in the darkness by guitarist The Archonoclast (Jayson McGehee), Dylan Marks on drums and bass co-conspirators The Great Righteous Destroyer (Damon Good) and The Absent Deity (Ben Ricci), in tandem they create a cacophony of hellish jazz-inflected discord and unpredictable texture; every composition a descent into shifting caverns, where sudden openings reveal hidden pathways only to close again with finality.Existing within an unawakened mind, contemplate a journey through the landscapes of Abditum, a region replete with the harmonies of the spheres and ever evolving chaos. These elements create a world that is alien yet meticulously considered. 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