Holy shit... way better than their last release !!!!

Metal

Portrait "Phantom Fathomer" from the album "At One with None"

At One with None

Portrait "Phantom Fathomer"

Satan "From Second Sight" from the album "Earth Infernal"

Earth Infernal

Satan "From Second Sight"

Enemy Of Reality

#shoegaze #nugaze #grungegaze #emo #alternative  #grunge #altrock

a love sick lullaby

Eddy Derecho is the second album from the Chicago-based sonic collective Evidence of a Struggle. This Album was released May 2nd 2025 on The Glue Factory Records, distributed through The Orchard and Burnside Distribution Inc. 
W P C Simmons V (Rev. Billy), Matt Walker, Alan Berliant, Solomon Walker, and John Airo have worked for most of 2024 weaving a dense tapestry of sonic, musical, lyrical, and visual ”observations” of what’s happening in our world now, what’s happened in the past, and what may happen in the future. Rev. Billy said, ”The music and videos we’ve created for this record have really helped us make sense personally, and as a collective of what’s going on in our world, how it’s effecting and affecting everyone regardless of their race, religion, color, ability, or socioeconomic standing. Maybe our music can help us recognize a better way to approach the idiocy happening in this world.  The wars, inequity, inequality, pain, suffering, anger, maybe it can help everyone else really look at themselves a little closer and not become part of the problem.” Ennn-joy.


Get Eddy Derecho

Charity

Track: Some Sympathy
Band: Tax The Heat

Taken from the forthcoming album 'Fed To The Lions', ue for release Spring 2016 on Nuclear Blast Records.

TAX THE HEAT - Some Sympathy

Band: Ricky Warwick
Album: When Patsy Cline Was Crazy (And Guy Mitchell Sang The Blues)
Release: 02/26/2016

BUY THE ALBUM HERE

Ricky Warwick - The Road To Damascus Street

PALLBEARER  -  Worlds Apart (Foundations Of Burden 2014)

"Under The Sword" from "The Sceptre of Deception".

Falconer "Under The Sword"

Track #2 on the 5 song album 'Hunted' by Khemmis. The album will be released on October 21st 2016 on CD / LP / Digital by 20 Buck Spin.

Order: LP / CD / Shirt / Slipmats / Badges at:
https://www.20buckspin.com/hunted

Hunted

KHEMMIS - Candlelight

Side B, Track 2 from the forthcoming Khemmis LP 'Hunted' to be released by 20 Buck Spin on October 21st 2016. Pre-order the album on all formats and merch at www.20buckspin.com/hunted

KHEMMIS - Hunted

Caliban – I See The Falling Sky

Taken from the upcoming album »Utgard« (Release date: 02.10.20)

Utgard

Homebound

Get the album here!

Enslaved - Homebound

Take a look at the figure on the cover of Longing, the debut from Seattle doom duo Bell Witch. Its eerie presence is appropriate for a record defined by inescapable haunting and loss. On these six songs, bassist/vocalist Dylan Desmond and drummer/vocalist Adrian Guerra play patiently, and sparingly; they appear to be carefully purging themselves of an inexplicable force corrupting their bodies. Instead of going for a frontal assault, piling riffs upon riffs upon riffs, they opt for something subtler, a spacious approach that affects the entire nervous system.
The album opens with a 20 minute journey into despair, "Bails (of Flesh)", a track that will likely weed out those who can't handle the unrelentingly downcast feel of the record. The tracks get shorter from there, but they also get sparser. Of note is "Longing (the River of Ash)", which grows more drawn out as it progresses. In this music of solitude, it's the loneliest track by far. Metal's defined by exaggeration, but the title Longing is perfect here: Desmond and Guerra want to go back to where pain didn't consume their reality.
A duo's primary challenge is to find a way to fill up space with minimal equipment. Usually, when a doom band's a two-piece, the guitars are double-amped and so downtuned that a bassist becomes irrelevant. Bell Witch flip this convention, employing a six-string bass in place of a guitar. (Often, one can hardly tell it's a bass.) Even lacking guitar, Desmond constructs melodies reminiscent of funeral doom acts like Skepticism and Esoteric, adding a touch of American dirtiness from his experience as the bassist of Samothrace.
There is one exception where the bass doesn't masquerade as a guitar. "Beneath the Mask", save for a sample from the Edgar Allen Poe-inspired film The Masque of the Red Death, is a five-minute drumless drone piece, where notes fly off and subsequently wither like Icarus on 33 1/3 RPM. The clean bass is more lonesome and more eerie than the distorted bass that the album's built upon. "Mask" seems like the perfect track to incorporate a sudden blast of hisses, feedback, screams-- something to make the listener jolt. It doesn't, and that suspense, like walking over rows of false trap doors, adds to the creepy atmosphere.
Throughout, Guerra's growls are complementary of the genre, and he even throws in a few blackened shrieks on "Rows (of Endless Waves)". Desmond's clean vocals, however, are more compelling, taking different shapes throughout the record. His warm, forlorn style carries the latter half of "Bails (of Flesh)", turning maudlin doom into perverted praise music. It's not a far stretch to imagine this being played in some church that worships self-destruction, congregants raising their hands up high, arms bleeding from cutting themselves. Desmond gives hails and salutations to the misery, like Om learning of a terminal illness diagnosis.
The previously mentioned "Rows" sees Desmond's voice become more delicate, almost crushing under the weight of the music. Frailty is important to the variety of doom Bell Witch explores, but rarely does a vocal performance capture what it is to stand on the line between sanity and madness. Desmond will whisper certain lines in "Rows", adding emphasis without raising his voice. He channels dISEMBOWELMENT's Renato Gallina on "Longing" making that track a true successor to the Australian doom-death quartet's 1993 classic Transcendence into the Peripheral. Remember that editorial arguing that metal vocalists are irrelevant? It wasn't entirely without merit, but Desmond challenges that line of thinking. He's got a cleverness and sense of space most vocalists don't possess. His voice is much like the music itself: it reverberates around, as if wandering and looking for a way out of this despair. Open and wide-reaching as it may be, there's also a sense of weighty claustrophobia in his voice, as if it's carrying his burdens, and the burdens of others, too. (via Pitchfork.com) 

Bell Witch - Rows (of endless Waves)

 I do not own this song in any way.
Music by Electric Wizard.

KHEMMIS - Candlelight

20 Buck Spin

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