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Second demo tape reissued on black vinyl, housed in gatefold sleeve with matte lamination, limited to 300 copies.

This is the story of the “lost” album. Shortly after The Small Hours had three tracks included on the Mods May Day '79 album, we went back into the recording studio to record an album of our own. Most of the songs were recorded in one take in London. At least one was recorded as a jam session while waiting for the sound engineer to adjust his settings. This gave the album the raw energy and drive of a live performance. We had everything: great songs, strong band dynamics and a large and enthusiastic live following. The only ingredient missing at the time was a record contract. So the tapes were mothballed and life moved on… until some 43 years later Carol Isaacs found a copy of the tape in the back of a cupboard. Carol sent it to Dizzy Detour, who in turn passed it to his genius sound engineer, James Perret. With 21st century technology, James was able to do a total remix of the sound adding double/ triple tracking, delay and echo. The result is an astonishing “virtual reality” of what the band would have sounded like live. As Neil Thompson would say, we had "Ingredient X”. A meld of the individual members of the band into a complete sound. The sound that was held together by a great drummer, the late Iain Shedden. As the saying goes," All things come to those who wait”. Thanks to Carol, Dizzy and James Perret, the wait is over.

After the glorious Wormboiler cassette tape compilation obliterated human ears in 2021, American one-man black industrial weapon Uranium finally emerges from the depths of oblivion with its debut full-length album An Exacting Punishment, a five-track, forty-minute radioactive nightmare of complete sonic ruin channelling the darkness of black metal with the scathing immensity of defining post-industrial acts like Brighter Death Now, Godflesh, Wolf Eyes, Swans, MZ. 412, Controlled Bleeding, and Genocide Organ. As the band's name aptly hints at, Uranium was conceived as an aural vessel to explore the outer limits and the most irreversible states of complete human disintegration, and the incineration of its most defining and triumphant achievements; namely society, progress, technology, and civilization, with nuclear power being the conduit and ultimate engine of the greatest and most horrific forms of total annihilation mankind could ever face. Auditory terror both permeates and defines Uranium's music, with bludgeoning and majestic post-industrial soundscapes pulsing inside a lightless void lit only by drifting embers and falling ash, while immense infernal atmospherics wrap their deathly spires around the listener, crushing them into a distorted auditory abyss. Power electronics, industrial noise and black metal have rarely before been seen chained together and weaponized into such a mortal design. An authentic weapon of mass annihilation engineered to face human life with absolute death. A death-scarred reality that emerges from the utter bleakness and ruination of Uranium's apocalyptic design, as the listener is cast at the center of a caustic nuclear nightmare where flesh boils and evaporates off bone, cells erratically split into endless deformities and the world is turned into a mangled, corroded and disfigured radioactive oblivion.

Straight out of Paris, Spheres will be offering up their next canvas of progressive metal in the form of their second full-length “Helios” on September 23rd. The album follows their highly praised 2019 debut “Iono”, which the band supported across Belgium, the Netherlands, Germany and their home country of France.

“Helios” sees a fresh lineup with founding member and album producer Jonathan Lino. The recording quintet is now inviting fans on a new spiritual journey featuring a multitude of contrasts and textures. From the sharp riffs, soaring melodies, through the clear singing to the growl while passing by ambiences and oscillating between dream and frenzy... everything is made to jostle the audience and invite them to take part in the journey.

Recommended for fans of Opeth, Tool, Mastodon, Gojira, and Devin Townsend, Spheres‘ forthcoming album “Helios” is available for pre-order now on Limited Edition Luminescent Vinyl LP.

After a long silence New Zealand bestial death metal horde Exaltation finally unveil their first proper full-length offering, Under Blind Reasoning, after a demo tape had surfaced back in 2017 amongst generalized obscurity. Indeed what we find on this debut offering is something distant from the lo-fi quality of the promising but under-produced demo, and sees the band tap instead into a realm of vehemence and aural destruction of unseen magnitude and terror. Feral, enveloping, monumental and sprawling in its unrelenting wrath, Under Blind Reasoning sees the obscure New Zealand death-bringers whip the sum of their influences (Immolation, Morbid Angel, Incantation, Deicide, Blasphemy) into a coercive realm of shelshocking torment and rise from the depths of obscurity like a cataclysmic weapon of mass-destruction. The album's dense and multidimensional recording quality has yielded a death metal beast of truly unsettling proportions. Every instrument and the utter violence with which it is wielded appears on full display, as the listener is helplessly left annihilated, blow after to blow, to witness the band's tight, savage and merciless performance and technical proficiency literally maul down the fabric of reality piece by piece.

In 2013 Finland’s Oranssi Pazuzu issued their ‘Valonielu’ LP, an album of timeless creative immensity that was met with ubiquitous praise throughout the world, and solidified the band’s position as one of the most forward-thinking and interesting metal bands. Now, in the early months of 2016, Oranssi Pazuzu returns with the follow-up album and fourth overall, the mind-bending masterwork ‘Värähtelijä’.

Oranssi Pazuzu, since birth, has never been satisfied to stick with a formula. Each album has seen the band expand upon its previous incarnation and then, like a supernova, blow it up and transform again into something recognizable but completely new. ‘Värähtelijä’ continues in this vein, giving the band much more room to diverge and explore the vast regions of hypnotic progressive psychedelia and the nebulous outer limits of Scandinavian black metal. Songs explode with radiant ultraviolet color and plunge into the deep black darkness of innermost consciousness. If ‘Valonielu’ was the creation of a universe, ‘Värähtelijä’ is the magnification and expansion of its infinite boundaries.

A 70+ minute sprawling voyage, ‘Värähtelijä’ more accurately represents the stunning live presence of the band where the songs often span new and previously unheard dimensions of form and structure. Not meant for genre purists, Oranssi Pazuzu are on a trip all their own; modern electric pioneers on an expedition to unlock the keys to the hidden spaces all around and inside us. 20 Buck Spin are pleased to once again present the innovative brilliance of Oranssi Pazuzu and ‘Värähtelijä’.

After showcases at Roadburn Redux (2021) and Eurosonic (January 2022), already 4 (!) repressings of debut album Unfold the God Man within just a year of its release, and big gigs at Alcatraz Festival and supporting Amenra, we can safely say that there is massive buzz around this band. Psychonaut literally came from out of nowhere -Mechelen, Belgium, to be precise- but their sophomore album Unfold The God Man made waves in the post- and progressive metal scenes: an intricate concept album tackling philosophical and existential themes and ultimately exploring mankind's re-ascension to a higher level of consciousness, the nearly 70-minute-long Unfold The God Man contained material from over 3 years of incessant writing, arranging and recording. This spring, Psychonaut released a new split album with Oslo's Sa^ver, titled Emerald. The band premiered an in-studio play-through of their 16-minutes contribution The Great Realisation, a track about the start of both an individual and a collective awakening, at this year's digital edition of Roadburn Festival April - a full-on assault on the senses brimming with ingenuity, from the creative drumming to the amazingly talented Stefan de Graef's idionsyncratic guitar playing, all the way to the use of didgeridoos and tribal percussion, The Great Realisation showcased truly world class musicianship and songwriting abilities. Ferocious Fellowman, an EP originally released in 2016, is the band's 2nd release, tucked between 2014's debut album "24 Trips Around The Sun" and 2020's "Unfold The God Man". Long sold out and sought after, it was about time for a reissue of this seminal release, which paved the way for Unfold The God Man. Influenced by 70's bands like Led Zeppelin and Pink Floyd but also drawing inspiration from contemporary heavy artists like Tool or Amenra, the three-piece made themselves a solid name across the European underground with a raw and compelling live show, which merges their wall of sound with intense visual landscapes and moody lighting design. Contrast and variation are the two main anchors on which they base their musical and visual ideas, and watching the band perform live makes you wonder how they manage to pull of this immensely orchestral, polyphonic sound with just 3 players: Psychonaut are an absolute sight to behold on stage. Single Coloured Pastel-Turquoise Vinyl!

ARE YOU A Good Witch OR A BAD Witch?

Prog-metal pranksters Flummox are back with IN Hindsight, featuring the hit second amendment anthem "Trans Girls Need Guns" along with 4 heavy new cuts. IN Hindsight is Flummox at their most playful, a whirlwind of chaotic energy centered on the satanic personality of frontwoman Alyson Dellinger. "Good Witch" kicks off the set, backing rock and roll mayhem with big band jazz, while "Bad Witch" and "Holy Ejaculate" pay homage to Mr. Bungle's tongue-in-cheek bangers. "Excelsior" works nostalgic throwbacks to 70s prog virtuosity into the havoc, packing all the jaw-dropping goodness of a King Crimson epic into a bite-sized 4-and-a-half minutes. Everything culminates in Dellinger's manic, magnetic performance at the heart of "Trans Girls Need Guns," a finale as empowering as it is groovy. Miss the mosh pit? Just light your candles, draw you

Copenhagen’s Anti Ritual return with their second offering and first full-length album ‘Expel The Leeches’. Ten tracks of churning, pissed off, blackened hardcore, delivering a caustic commentary on the state of the world. While Anti Ritual draws on death metal, black metal, grind as well as hardcore to create its furious aesthetic, the band thematically emphasises the potential of aggressive music as being a political endeavour and furthermore its function as a cathartic cleanser for those involved.

Topics like modern capitalism, the many guises worn by the rising fascism, the fear of environmental collapse and the world we are leaving behind for future generations fuels this furious, yet dynamic record. The central drive behind the songs has once again been to find a constructive outlet for the less than optimistic outlook greeting anyone who cares to look up from their screens. These songs were written by Anti Ritual to help cope and to help put words to what surrounds us all.

As with Anti Ritual’s 2014 self-titled debut EP, the record is not meant as a pessimistic testament though. The sheer vitriol and passion poured into the making of these songs stem from a desire to make positive use of our anger and frustration. It is a way to ward off total apathy and the slow but certain descent into the indifference that covers every inch of postmodern society. An apathy that now threatens our very existence as a species.

‘Expel The Leeches’ is recorded and produced by the band itself, mastered by Brad Boatright (Nails, Sleep, From Ashes Rise a.o.) and bears artwork by Morten Grønnegaard. The album is set for a release on vinyl in 2021 through Indisciplinarian.

Mix blistering Thrash Metal, early 90's Death Metal and the sinister atmosphere of Black Metal and it's clear to see (and hear) that the debut album of Sweden's Age Of Dystopia is a must-have.

Hungary’s new hideous deathbeasts Molis Sepulcrum, featuring members from Gravecrusher and Mörbid Carnage, unleash their debut MLP “Left For The Worms”, a sickening plunge into an extremely vicious bite of Hm-2 drenched Death Metal! Molis Sepulcrum formed in 2019 in Szeged, Hungary. Members of Gravecrusher and Mörbid Carnage. Inspired by Swedish Death Metal, Entombed, Grave, Dismember and the rotting tortured corpses deep in the crypts. Lyrical themes about desecration, torturing, murder, death. Riff after riff of unclean worm-ridden Death Metal infestation, all manifested under six tracks in vile primitive fashion. Recorded at Obsidian Studio and Voice-Beat Studio King with mixing at Obsidian Studio

After the calm and sublime People Used To Live Here, Spook THE Horses, hailing from Wellington, New Zealand deliver their ferocious new album, Empty Body. With distortion levels cranked up, tempoes sped up and songs condensed and stripped down to the bare, ugly essentials, Empty Body comes as a brutal wake-up call within the rampant covid-19 fatigue, and an unexpected surprise in almost every regard. "We've always been both a heavy and a quiet band. An entire album of our prettier, more bittersweet inclinations demands a reply of our most aggressive and confrontational. The pendulum must swing back the other way", comments multi-instrumentalist Callum Gay. Imagine: if band members can rotate between instrument positions within the band, because every band member can play every instrument, then this must imply a seldom degree of freedom and mutual musical understanding... something that most bands could only dream of. Spook THE Horses are such a band. Maybe this multi-instrumentalism and virtuosity also explains the vast musical territory that is explored between the band's 4 albums: while 2011's debut album Brighter was defined by sweet post-rock crescendos, 2015's Rainmaker was a much heavier affair. People Used To Live Here“ (2017) created an atmosphere of quiet desolation, raw and real, desperate and unsettling: the post-apocalyptic soundtrack to abandoned places, where people used to live, at one point in time, long ago.

From The Gruesome Depths In Which They Mercilessly Rule, The Ancient Gods Of The Merciless Hm2 Buzz Saw Cult Summoned Fresh Disciples To Serve Their Cause. Niko (Ex-Tyrant's Kall), Jörgen (Theudho), Bart (Ex-Fleshmould, Ex-Storm Upon The Masses) And Tomas (Human Vivisection, Ex-Fractured Insanity, Ex-Storm Upon The Masses) Answered That Infernal Call In 2017, Crafting Frantic Hymns Based On Barbarous Riffing, Chaotic Soloing And Ferocious Hammering Under The Moniker Of Slithering Decay. In March 2018, They Committed Four Of Their Twisted Concoctions To Tape And Unleashed Them Upon The Realm Of Mortals In The Form A Cassette Demo, Highly Appropriately Yet Fabulously Apathetically Entitled Demo 2018. The Fifty Black Cassettes Quickly Found Their Way To All Corners Of The Earth, While Digital Copies Were Left To Quench The Blood Thirst Of New Devotees. In The Meanwhile, More Disharmonious Pieces Were Conjured From The Nameless Abyss. Once Again Engineered, Recorded And Mixed By The Band Themselves, Ten Wretched Pieces Were Gathered For Their Debut Album Aeons Untold. The Equally Appropriately And Apathetically Entitled Promo 2020 Was Sent Out To A Number Of Possible Partners In Crime For A Potential Release Of The Debut Album. The Infamous Testimony Records Answered The Call. Aeons Untold Received A Final Sonic Boost Through A Master By Dan Swanö (Of Edge Of Sanity Fame). The Sinister Cover Art By Wesley Dewanckel (Tyrant's Kall, Unmensch) Outstandingly Captures The Atmosphere Of The Madness Captured On The Record.

The 9th Album Full Length From Dutch Melancholic Black Metallers, An Autumn From Crippled Children. As The Morning Dawns We Close Our Eyes Continues The Band's Shift Towards A More Soothing, Post New Wave Sound While Still Juxtaposing It With Sharp, Angular Black Metal.

Ten years have eclipsed since French underground black metal Hell Militia released their last studio album ‘Jacob’s Ladder’. When the band regrouped in 2018, the tumult of recent years, the pandemic and real life’s comings-and-goings were perfect ammunition for Hollow Void’s creation. The resultant album is perhaps Hell Militia’s most strident effort to date. The band’s orthodox, unrelenting approach coalesce into an album that exploits the true nature of black metal: Savage, unforgiving and grim.

For Sleepwalker, we wanted to come up with an original take on the stoner/doom genre. The use of heavy riffs and melodic harmonies conveys a unique listening experience that feels both new and familiar. We felt like we had a lot to say on this album, and we hope it speaks for itself.

New album from Norwegian hard rockers Skambankt!!

Hailing from Norrköping, Sweden, Wanton Attack is a new heavy metal force to be reckoned with. The duo, consisting of traditional metal enthusiasts Micael Zetterberg (vocals, drums) and Niklas Holm (guitars, bass), formed in 2019 and is now ready to unleash their self-titled debut album of Arcane Metal upon the world.

Since that debut’s explosive arrival, Ihsahn has forged fearlessly ahead, conjuring an extraordinary catalogue of ground-breaking solo albums along the way. Strong roots in extreme metal have remained an integral part of his ever-evolving sound, but from the saxophone-drenched melancholy of 2010’s After to the avant-garde squall of 2013’s Das Seelenbrechen and on to the ornate duality that produced the vicious and weather-beaten Arktis (2016) and the icily claustrophobic Ámr (2018), Ihsahn’s musical journey has been relentlessly fascinating and frequently revelatory. More than any other artist to emerge from the fertile black metal scene of the early ‘90s, Ihsahn has firmly established himself as an unpredictable maverick. Frontman and chief composer with the legendary Emperor, he re-wrote the rulebook on epic extreme music across a series of albums that are still widely regarded as classics. From the genre-defining majesty of In The Nightside Eclipse in 1994 to 2001’s wildly progressive tour-de-force Prometheus: The Discipline Of Fire & Demise, Ihsahn’s unique approach and liberated musical ethos ensured that when he embarked on a solo career with 2006’s The Adversary, fans were primed to expect the unexpected.

“We are a Sludge/Doom band from Sydney, Australia. We have been on the local Australian Doom scene for a couple of years and released an EP at the end of 2019 called the Blackwitch EP and we are about to release our new album The Fire Above. Our influences are varied but include Sleep, The Melvins, EyeHateGod, Electric Wizard and Black Sabbath. We have been getting attention at our live shows for being really loud!!! “Long, hypnotic, simple yet textured seven minute songs. A sonic scream into the abyss and a sacrifice of the innocents at the alter of the almighty bong. The record sounds like a weighted blanket, a comforting fire on a frozen night, a shot of heroin to shut out the voices, a knife in the throat of those who have wronged you, the tender touch of a lover who had plans for you which were not negotiated in the verbal contract of consent.