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„Borderland" is the first Amorphis album produced in collaboration with Danish producer Jacob Hansen. Before that, we had made three amazing records at Jens Bogren’s studio. During the planning phase of the project, we strongly felt that it was time to explore something new and see what working with a different producer might bring to the table.

Amorphis has a very distinctive sound and our own way of making music. Having six strong personalities in the band naturally brings its own challenges to the production process, especially for the producer. Jacob was chosen for a couple of key reasons: he has worked with an impressively diverse range of artists, and he’s an incredibly calm, creative, and idea-driven producer.

Once again, the lyrics were written by Pekka Kainulainen, and the album artwork is by Dutch artist Marald Van Haasteren. Pekka Kainulainen describes the themes and topics of the album as follows: "The generations that came before us, our ancestors, also had to face death and destruction. Honoring the mythologies of mankind, as well as the listeners of Amorphis, I wrote lyrics that hopefully convey some of the humility and strength that mankind has always depended on."
- Esa Holopainen

The Garden Of Unearthly Delights was the eighth studio album by British Doom legends Cathedral, for which they were signed by Nuclear Blast Records in Germany. The album received a lot of critical acclaim and was well received by fans alike. Tracks such as Corpsecycle and North Berwick Witch Trials were firm favourites and staples in the live setlists right up until the bands end.

Produced by warren Riker (Fugees, Corrosion Of Conformity, Down, Cynic etc), it had a revitalised energy, which saw the band touring relentlessly around the globe once again. 

Choc full of the usual monstrous riffs, strange subject matter and non-conforming twists and turns that Cathedral became known  for, it’s crowning achievement was epic 27-minute track simply titled The Garden. It’s a Doom prog odyssey which took the  listener through a myriad of arcane environments and odd musical passages. 

18+, Barely Legal. Yes, it has been over 18 years since I HATE first released the VULCANO/NIFELHEIM split in 2006. Back then as a 7” and CD. The release to this day still contains two exclusive non album studio tracks by both bands. Time has come to finally make this abomination available as a 12” LP. The vinyl will also feature NIFELHEIM’s version of “Insulter of Jesus Christ” (DAMNATION cover). Previously only available on the 2006 CD-version (The track features guest appearance by Jon Nödtveidt – his last ever recording prior to his passing).

A shapeshifting beast to sacrifice. Conduit of meditations to emanations. Through the vessels ( ) 1853, Ritualmord manifests.

Unbound by genres and style. Firmly rooted in black metal. Not as a mere genre, but lifestyle.

With each release, a pursuit to explore. From neofolk-tinged acoustic rumbles to alternative electronic flirting with industrial. Drones emerging into post-rock. Some may say post-black metal, someday.

It began as a place where songs from Lifelover and Hypothermia would go.
As we grow as artists and individuals, yet remain true to ourselves and ideals.
Which is one of the foundations that made those aforementioned bands stand out from the masses.

To creatively be and remain original. True to ourselves and the art that we live for.
Without boundaries. Ever-evolving.

After three EPs, ahead is the following: The first full-length debut album "This is Not Lifelover"

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.

Red Translucent

B2 Green Substance

The first album from unconventional Polish power trio Species, ‘To Find Deliverance’, leveled us with its rare blend of technical thrash prowess and unorthodox but highly inspired songwriting, enough to make our best of 2022 album list. 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 its 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’ its 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 its weapons; hyperspeed assaults, dystopian lulls and instrumental mastery, in a climatic saga beyond space and time. “Changelings” is that rare album nowadays that still has the ability to surprise in the most triumphant and euphoric way possible.