...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


SEED 15:00-22:00.
POLECAM!!!

https://i128.fastpic.org/big/2026/0930/0e/b2b8d860bc33fcb72649e6d2c5e96f0e.jpg

...( Info )...

Artist: VA
Title: For You (Vol. 158)
Year: 2026
Genre: Electronic, Chillout
Duration: 03:22:02
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

01. Eric Clapton - Wonderful Tonight (Blues Rock Version By Jesica Purple)
02. R.E.M. - Losing My Religion (Blues Rock Version By Jesica Purple)
03. 4 Non Blondes - What's Up (Blues Rock Version By Jesica Purple)
04. The Beatles - Let It Be (Blues Rock Version By Jesica Purple)
05. Smooth Blues & Soul - Cold Coffee & Warm Regrets
06. Smooth Blues & Soul - Stay A Litle Longer
07. Rosetta Solenne - Hope
08. Dave Sandler - Corazones De Luz
09. Delilah Raine - Burn Like That
10. House Blues Music - The City Couldn’t Break Me
11. Rosetta Solenne - Jealousy
12. Dave Sandler - Golden Tide
13. Delilah Raine - Honey Trap
14. Stella Noir - I Couldn’t Love For Two
15. Morgan Rita - I Won’t Disappear For Love
16. Gloria Gaynor, Morgan Luna - I Will Survive
17. Luna Brooks - Love Me Not Slowly
18. Morgan Rita - You Were Always Home
19. Luna Brooks - A Voice Within Me
20. Morgan Rita - I Belong To Me
21. Synnos - I Don't Believe Your Love
22. Ben E. King, Morgan Luna - Stand By Me
23. Tears & Roses - She Still Waits For Your Return
24. Stella Noir - My Life Is Still Mine
25. T & L - Infinite Love
26. Stella Noir - I Can Hear Myself Again
27. Etta Mae & Hartwell Miles - Hart Only Ever You
28. Nova Lane - Looking For You
29. Rosetta Solenne - Memory
30. Smooth Blues & Soul - The Way You Look At Me
31. Liamora - You Are In My Memory
32. Stella Noir - Ticket In The Bible
33. Mirava - Fake Kiss
34. Nova Lane - Abracadabra
35. Stillbeats - Broken Soul
36. Lovrite - Beautiful Love
37. Stella Noir - I Still Turn To Tell You
38. Betty Thunderstone - Don't Let This Moment Go
39. Iris Noire - So You Don't Forget Me
40. Morgan Rita - Don't Touch Me Like You Mean It

...( Info )...

Artist: Metallica
Title: Death Magnetic
Year: 2008
Genre: Rock
Style: Thrash, Heavy Metal
Label: Vertigo
Country: Japan
Duration: 01:14:46
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. That Was Just Your Life (00:07:08)
02. The End Of The Line (00:07:52)
03. Broken, Beat & Scarred (00:06:25)
04. The Day That Never Comes (00:07:56)
05. All Nightmare Long (00:07:58)
06. Cyanide (00:06:40)
07. The Unforgiven III (00:07:47)
08. The Judas Kiss (00:08:01)
09. Suicide & Redemption (00:09:58)
10. My Apocalypse (00:05:01)

...( Info )...

Artist: Metallica
Title: Live Shit: Binge & Purge
Year: 1993
Genre: Rock
Style: Heavy Metal
Label: Elektra
Country: Russia
Duration: 02:57:12
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...


01. The Ecstasy Of Gold / Enter Sandman (00:07:28)
02. Creeping Death (00:07:28)
03. Harvester Of Sorrow (00:07:19)
04. Welcome Home (Sanitarium) (00:06:39)
05. Sad But True (00:06:07)
06. Of Wolf And Man (00:06:23)
07. The Unforgiven (00:06:48)
08. Justice Medley (00:09:38)
09. Solos (Bass / Guitar) (00:18:50)
10. Through The Never (00:03:48)
11. For Whom The Bell Tolls (00:05:48)
12. Fade To Black (00:07:12)
13. Master Of Puppets (00:04:35)
14. Seek & Destroy (00:18:08)
15. Whiplash (00:05:34)
16. Nothing Else Matters (00:06:22)
17. Wherever I May Roam (00:06:32)
18. Am I Evil (00:05:41)
19. Last Caress (00:01:26)
20. One (00:10:26)
21. So What / Battery (00:10:06)
22. The Four Horsemen (00:06:07)
23. Motorbreath (00:03:14)
24. Stone Cold Crazy (00:05:33)

...( Info )...

Artist: Metallica
Title: Metallica
Year: 1991/2008
Genre: Rock
Style: Hard Rock, Heavy Metal
Label: Vertigo
Country: Japan
Duration: 01:05:47
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. Enter Sandman (00:05:32)
02. Sad But True (00:05:25)
03. Holier Than Thou (00:03:48)
04. The Unforgiven (00:06:27)
05. Wherever I May Roam (00:06:44)
06. Don't Tread On Me (00:04:00)
07. Through The Never (00:04:04)
08. Nothing Else Matters (00:06:29)
09. Of Wolf And Man (00:04:17)
10. The God That Failed (00:05:09)
11. My Friend Of Misery (00:06:50)
12. The Struggle Within (00:03:54)
13. So What (Bonus Track) (00:03:08)

Title: Bagienny Stan
Artist: Woliera
Year: 2026
Genre: Death Metal
Country: Poland
Duration: 00:30:35
Format/Codec: MP3
Audio Bitrate: 320 kbps

Tracklist
01. Intro
02. Bioto obcych ust
03. Ukryte rany
04. Zatrute umysły
05. Bagienny Stan
06. Grudy
07. Otępiałych świąt
08. Woliera
09. Outro

..::INFO::..

Ewa Braun to nieistniejąca już niestety polska grupa zaliczana do sceny rocka alternatywnego i noise. Zespół, który powstał w Słupsku, uważany jest za jeden z najbardziej oryginalnych w historii polskiej muzyki w ogóle! Ewa Braun nagrała pięć płyt, w tym jedną koncertową. Zespół za płytę Sea Sea był nominowany do nagrody muzycznej Fryderyk ’99 i do Machinera w kategorii muzyka niezależna. Gazeta muzyczna BRUM uznała Sea Sea za płytę roku 1999. Muzyka zespołu znalazła się na płycie w prestiżowym brytyjskim piśmie muzycznym WIRE. Płyty ewy braun znajdują się w dystrybucji muzyki niezależnej w takich krajach jak: Niemcy, Holandia, Belgia, Dania, Japonia, USA, Czechy, Węgry, Chorwacja. Zespół ma na swoim koncie wiele koncertów w Polsce i w Europie. W maju 2000 roku, nakładem wytwórni Antena Krzyku Unc., ukazał się czwarty album zespołu pt. ELECTROMOVEMENT. Wstawka zawiera drugą płytę zespołu.

Title: Esion

Artist: Ewa Braun

Country: Polska

Year: 1994

Genre: Rock, Noise

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Czarny ptak
2.Ucieczka
3.M.L. King
4.Hard Core
5.Mów mi Allie
6.Niebo
7W drodze
8.A.I.D.S.
9.Samochodem i domem zajęła się policja
10.Esion

..::INFO::..

Debiutancki album brooklyńskiego zespołu skapunkowego w składzie: Jimmy Doyle (wokal i gitary), Ken Partridge (bas), Geoff Bickford (bębny) i Matt Mason (saksofony).

Title: Now's The Time

Artist: Be Decent

Country: USA

Year: 2026

Genre: Ska Punk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01. Get Over It
02. Human Nature (feat. Ted Leo)
03. Now's The Time
04. Come Sweetly
05. Chasing Dawn
06. You Better Work
07. All That I Need
08. Struggle
09. Out For Blood
10. Can't Argue
11. Be Decent
12. Try Not To Die
13. H.O.L.E.
14. Hateful
15. O'Doctor

...( Info )...
Kategoria: Music
Styl: Post-Black Metal
Kraj: Polska
Format: mp3

https://www.metal-archives.com/bands/Z%C3%B8rza/3540526922

...( TrackList )...
Albumy

2023 - IEI (EP)
2024 - Hellven (VBR spektrum)
2026 - Twilight of the Golden Star
...( Dane Techniczne )...
Audio codec: mp3
Rip type: Track
Scans from the disc: No (tylko okładka)

..::INFO::..

---------------------------------------------------------------------
Black Sabbath - 1970-1973 (Reissue - 1987-1988) - (3 CD)

CD 1 - Paranoid (1970)
CD 2 - Master Of Reality (1971)
CD 3 - Sabbath Bloody Sabbath (1973)

---------------------------------------------------------------------
CD 1 - Black Sabbath - Paranoid
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Paranoid
Genre................: Heavy Metal
Source...............: CD
Year.................: 1970-1987
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 57 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 1
---------------------------------------------------------------------

1. Black Sabbath - War Pigs/Luke's Wall [07:58]
2. Black Sabbath - Paranoid [02:52]
3. Black Sabbath - Planet Caravan [04:34]
4. Black Sabbath - Iron Man [05:58]
5. Black Sabbath - Electric Funeral [04:52]
6. Black Sabbath - Hand Of Doom [07:09]
7. Black Sabbath - Rat Salad [02:30]
8. Black Sabbath - Jack The Stripper/Fairies Wear Boots [06:13]

Playing Time.........: 42:10
Total Size...........: 248,80 MB


---------------------------------------------------------------------
CD 2 - Black Sabbath - Master Of Reality
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Master Of Reality
Genre................: Hard Rock
Source...............: CD
Year.................: 1971-1987
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 55 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 2
---------------------------------------------------------------------

1. Black Sabbath - Sweet Leaf [05:04]
2. Black Sabbath - After Forever [05:25]
3. Black Sabbath - Embryo [00:28]
4. Black Sabbath - Children Of The Grave [05:17]
5. Black Sabbath - Orchid [01:31]
6. Black Sabbath - Lord Of This World [05:26]
7. Black Sabbath - Solitude [05:02]
8. Black Sabbath - Into The Void [06:11]

Playing Time.........: 34:28
Total Size...........: 197,69 MB


---------------------------------------------------------------------
CD 3 - Black Sabbath - Sabbath Bloody Sabbath
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Sabbath Bloody Sabbath
Genre................: Hard Rock
Source...............: CD
Year.................: 1973-1988
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 61 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 3
---------------------------------------------------------------------

1. Black Sabbath - Sabbath Bloody Sabbath [05:45]
2. Black Sabbath - A National Acrobat [06:16]
3. Black Sabbath - Fluff [04:13]
4. Black Sabbath - Sabba Cadabra [06:00]
5. Black Sabbath - Killing Yourself To Live [05:41]
6. Black Sabbath - Who Are You [04:11]
7. Black Sabbath - Looking For Today [05:06]
8. Black Sabbath - Spiral Architect [05:29]

Playing Time.........: 42:44
Total Size...........: 267,35 MB


Bass Guitar – Terry "Geezer" Butler
Drums – Bill Ward
Lead Guitar – Tony Iommi
Vocals – Ozzy Osbourne

Genre: Death Metal
Artist (band) Country: Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 30:26
Contains scans in the download: No

Tracklist:
01. Scent
02. Druglust
03. Self-made Gods
04. ... all the fucking same
05. New Revelation
06. Stifled
07. Sacred Genocide (feat. Alexy Khoury)
08. The Art Of Deconstruction (feat. Inverne & Grzegorz Feliks)

Genre: Black/Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 37:47
Contains scans in the download: No

Tracklist:
01. I, Scvlptor
02. Lord of the Horizons
03. Rise of the Blackstorm of Evil (2026 Version)
04. In Thy Pandemaeternum (2026 Version)
05. Begotten
06. In League with Satan (feat. Shagrath & Dimmu Borgir)
07. The Return of Darkness and Evil (Live in Athens, 2026) (feat. Sakis Tolis)
08. Lord of the Horizons (Rough Studio Mix)

...( Info )...

Artist: VA
Title: Chillout After Work 2026 [2CD]
Year: 2026
Genre: Dance, Pop
Duration: 01:47:11
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

CD 1
01. Carl Clarks - Berlin (04:00)
02. Plexiphones, Aurawave - It Feels Wrong (03:38)
03. Steve Carlson, Claus Pieper - Sail On (02:47)
04. Claus Pieper - Passing Through (03:25)
05. Scot & Millfield, aqeliki, Thomas Foster - Falling (03:09)
06. No Hopes - Sadness (02:56)
07. Caspa Houzer - Te Quiero (02:29)
08. Electric Dada, Mawine Jan De Vice - Dancing In The Sun (03:04)
09. Ultraviolet Ray - 60 Seconds (03:50)
10. Scot & Millfield, Thomas Foster - I Reached Out For You (03:16)
11. Electric Dada, Mawine Jan De Vice - Pink Sky (03:47)
12. R-Theme - Ibiza (02:42)
13. Mario Pauli - Fallen Echoes (03:12)
14. Tropical Breeze - On Your Mind (02:24)
15. Ibiza Whispers - Celebrate (02:41)
16. Blissful Beats - Ibiza At Night (02:41)
17. Professor Cunningham And His Old School - Up A Lazy River (feat. Tamara Korn) (03:48)

CD 2
01. Charlie Atom, Michael Fall - Work (03:27)
02. Mat Vision, Barbara Vander - Vamos A Bailar (baya Baya) (03:02)
03. Ultraviolet Ray - The Feeling (03:13)
04. Carl Clarks - Wind Of Change (03:11)
05. Mauro Picotto - Komodo (Save A Soul) (03:17)
06. Saccoman - Distant Planet (03:52)
07. Elyamont - Circles (02:51)
08. Thomas Foster, Ariane Roth - We Can Take Your Time (02:56)
09. Carl Clarks - Nummer One (03:07)
10. Aurawave, Jon Carter - In The Air Tonight (03:39)
11. Carl Clarks - Relax, Take I Easy (03:59)
12. Andreas Kraemer, Aurawave, Junk Project - Nightshift (02:07)
13. Black Taxi Bar - You To Me Are Everything (03:36)
14. Carl Clarks - The Sound Of Silence (04:04)
15. Craig Pruess - Ack V?rmeland (03:02)
16. Professor Cunningham And His Old School - Lullaby Of The Leaves (feat. Tamara Korn) (03:45)

...( Info )...

Artist: Anthrax
Title: Cursum Perficio
Year: 2026
Genre: Rock
Style: Thrash
Label: Nuclear Blast
Country: Worldwide
Duration: 00:53:47
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/48 kHz


...( TrackList )...

01. Persistence of Memory (00:01:08)
02. The Long Goodbye (00:05:34)
03. It's For The Kids (00:04:20)
04. Everybody's Got A Plan (00:04:37)
05. The Edge of Perfection (00:06:46)
06. Infectious (00:05:17)
07. NYC 93 (00:04:49)
08. Cursum Perficio (00:06:08)
09. T.O.M.B. (00:04:31)
10. Watch It Go (00:05:43)
11. My Victory (00:04:54)

...( Info )...

Artist: Led Zeppelin
Title: How The West Was Won (2018 Remastered)
Year: 2003/2018
Genre: Rock
Style: Blues Rock, Rock & Roll
Publisher (label): Rhino Atlantic
Duration: 02:27:34
Format/Codec: FLAC
Rip type: Tracks
Audio bitrate: Lossless
Bit depth: 24 Bit/48 kHz

...( TrackList )...

01. LA Drone (Remaster) (00:00:14)
02. Immigrant Song (Remaster) (00:03:42)
03. Heartbreaker (Remaster) (00:07:24)
04. Black Dog (Remaster) (00:05:41)
05. Over The Hills And Far Away (Remaster) (00:05:08)
06. Since I've Been Loving You (Remaster) (00:08:02)
07. Stairway To Heaven (Remaster) (00:09:37)
08. Going To California (Remaster) (00:05:37)
09. That's The Way (Remaster) (00:05:54)
10. Bron-Yr-Aur Stomp (Remaster) (00:04:44)
11. Dazed And Confused (Remaster) (00:25:24)
12. What Is And What Should Never Be (Remaster) (00:04:40)
13. Dancing Days (Remaster) (00:03:41)
14. Moby Dick (Remaster) (00:19:07)
15. Whole Lotta Love (Remaster) (00:20:53)
16. Rock And Roll (Remaster) (00:03:56)
17. The Ocean (Remaster) (00:04:20)
18. Bring It On Home (Remaster) (00:09:30)

...( Info )...

Artist: Led Zeppelin
Title: Led Zeppelin IV (2014 Deluxe Edition)
Year: 1971/2014
Genre: Rock
Style: Hard Rock, Classic Rock, Blues Rock
Publisher (label): Atlantic
Duration: 01:23:09
Format/Codec: FLAC
Rip type: Tracks
Audio bitrate: Lossless
Bit depth: 24 Bit/48 kHz

...( TrackList )...


01. Black Dog (Remaster) (00:04:55)
02. Rock And Roll (Remaster) (00:03:41)
03. The Battle Of Evermore (Remaster) (00:05:52)
04. Stairway To Heaven (Remaster) (00:08:03)
05. Misty Mountain Hop (Remaster) (00:04:39)
06. Four Sticks (Remaster) (00:04:45)
07. Going To California (Remaster) (00:03:32)
08. When The Levee Breaks (Remaster) (00:07:09)
09. Black Dog (Basic Track With Guitar Overdubs) (00:04:35)
10. Rock And Roll (Alternate Mix) (00:03:40)
11. The Battle Of Evermore (Mandolin Guitar Mix From Headley Grange) (00:04:13)
12. Stairway To Heaven (Sunset Sound Mix) (00:08:04)
13. Misty Mountain Hop (Alternate Mix) (00:04:45)
14. Four Sticks (Alternate Mix) (00:04:33)
15. Going To California (Mandolin Guitar Mix) (00:03:34)
16. When The Levee Breaks (Alternate UK Mix In Progress) (00:07:09)

...( Info )...

Artist: Miley Cyrus
Title: Attention: Miley Live
Year: 2022
Genre: Rock, Funk, Soul, Pop, Folk, World, Country
Label: Columbia
Country: US
Duration: 01:45:02
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. ATTENTION (00:01:36)
02. We Can't Stop X Where Is My Mind? (Live) (00:05:35)
03. Plastic Hearts (Live) (00:03:27)
04. Heart of Glass (Live) (00:03:08)
05. 4x4 (Live) (00:03:00)
06. (SMS) Bangerz (Live) (00:03:20)
07. Dooo It! (Live) (00:01:09)
08.23 (Live) (00:08:54)
09. Never Be Me (Live) (00:03:34)
10. Maybe (Live) (00:04:07)
11. 7 Things (Live) (00:03:40)
12. Bang Bang X See You Again (Live) (00:04:33)
13. Jolene (Live) (00:04:27)
14. High (Live) (00:03:29)
15. You (Live) (00:03:01)
16. Like a Prayer (Live) (00:03:28)
17. Edge of Midnight (Midnight Sky Remix) (Live) (00:03:40)
18. The Climb (Live) (00:06:01)
19. Wrecking Ball X Nothing Compares 2 U (Live) (00:05:13)
20. Party In The USA (Live) (00:07:01)
21. WTF Do I Know (Live) (00:03:00)
22. Mother's Daughter X Boys Don't Cry (Live) (00:05:21)
23. You (Take 2) (Live) (00:03:10)
24. Nothing Breaks Like a Heart (Live) (00:03:55)
25. Angels Like You (Live) (00:04:10)
26. Fly On The Wall (Live) (00:03:03)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po wydaniu płyty 'Lost Mankind' grupa ruszyła w trasę z Barclay James Harvest. Miało to bezpośredni wpływ na ich późniejszą muzykę. Trzecia płyta 'As A Keepsake' (1977) zainspirowana Brytyjczykami była już zdecydowanie bardziej symfonicznym popem niż rockiem.
Jeśli ktoś lubi takie granie, to kolejne płyty: 'A Whale Of Time' i koncertowa 'Whalecome' (obie z 1978) nie powinny rozczarować.
Jednak moim skromnym zdaniem ich poziom artystyczny daleko odbiega od dwóch pierwszych i absolutnie genialnych albumów.



OK, so Eugene, Oregon isn't the most prog friendly place on the face of the planet, and that goes for finding used prog LPs, although I have found a few unbelievable finds there, including original Italian Polydor pressings of the first two Latte e Miele LPs (I only bought Papillon at one of the Eugene record stores, as I already owned the original Passio Secundum Mattheum), the original Italian Grog pressing of the Celeste LP, and an original green Brain LP pressing of Satin Whale's Desert Places. For some reason finding unbelievable albums in Eugene seemed to have petered out since then (probably since the record stores felt they were making more money with newly pressed vinyl, and needing to cater to the college student and hipster population). Regardless, so glad to get that Satin Whale LP, then coming home to realize the big money originals are going for (I spent $20, and this doesn't appear to be the recent repress). I also noticed a copy of As a Keepsake at the same time (2012), but skipped it thinking it probably isn't worth my time. Come 2015, same Satin Whale LP still sitting there and I bought it, and I actually find it very good.
Everything else they ever done seems to get compared to Desert Places, and I didn't feel the need to do that. As a Krautrock album, As a Keepsake crashes and burns. As a "crossover prog" album, this rather good, and if you like crossover prog, this comes recommended. It might not have the extended jams of Desert Places, but it had nice songs and nice arrangements. I don't think they sold out, the production and the music is a bit too sophisticated. They go a bit in the Barclay James Harvest route here, which I guess was intentional, as they had toured with them. I even prefer this over the BJH album from the same time (Gone to Earth). This album has several songs I really enjoy including "Holidays", "Devilish Roundabout", "Going Back to Cologne" and "Maree". "Devilish Roundabout" features some nice acoustic guitar passages, plus I really love that vibraphone solo. While I enjoy Desert Places as much as the next proghead, I was surprised to find this enjoyable, and worthy of four stars.

Progfan97402



..::TRACK-LIST::..

1. Holidays 5:39
2. Reminiscent River 4:12
3. Devilish Roundabout 5:43
4. A Bit Foolish - A Bit Wise 5:58
5. Shady Way 4:14
6. Goin' Back To Cologne 3:54
7. Kew Gardens 4:26
8. Marée 4:38
9. No Time To Lose 4:26



..::OBSADA::..

Dieter Roesberg - electric, slide & acoustic (6- & 12-string) guitars, flutes, harmonica, vocals (6)
Gerald Dellmann - Hammond B3 organ, grand piano, Fender Rhodes, Hohner e-piano, synths (MiniMoog, ARP Strings), vibes, marimba, tubular bells, glockenspiel
Thomas Brück - bass, lead vocals
Wolfgang Hieronymi - drums

With:
Bernd Wippich - backing vocals
Freya Wippich - backing vocals
Rale Oberpichler - backing vocals
Horst Schaettgen - backing vocals
Herb Geller - alto sax (7)


https://www.youtube.com/watch?v=n973jXIk7J0


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po wydaniu płyty 'Lost Mankind' grupa ruszyła w trasę z Barclay James Harvest. Miało to bezpośredni wpływ na ich późniejszą muzykę. Trzecia płyta 'As A Keepsake' (1977) zainspirowana Brytyjczykami była już zdecydowanie bardziej symfonicznym popem niż rockiem.
Jeśli ktoś lubi takie granie, to kolejne płyty: 'A Whale Of Time' i koncertowa 'Whalecome' (obie z 1978) nie powinny rozczarować.
Jednak moim skromnym zdaniem ich poziom artystyczny daleko odbiega od dwóch pierwszych i absolutnie genialnych albumów.



OK, so Eugene, Oregon isn't the most prog friendly place on the face of the planet, and that goes for finding used prog LPs, although I have found a few unbelievable finds there, including original Italian Polydor pressings of the first two Latte e Miele LPs (I only bought Papillon at one of the Eugene record stores, as I already owned the original Passio Secundum Mattheum), the original Italian Grog pressing of the Celeste LP, and an original green Brain LP pressing of Satin Whale's Desert Places. For some reason finding unbelievable albums in Eugene seemed to have petered out since then (probably since the record stores felt they were making more money with newly pressed vinyl, and needing to cater to the college student and hipster population). Regardless, so glad to get that Satin Whale LP, then coming home to realize the big money originals are going for (I spent $20, and this doesn't appear to be the recent repress). I also noticed a copy of As a Keepsake at the same time (2012), but skipped it thinking it probably isn't worth my time. Come 2015, same Satin Whale LP still sitting there and I bought it, and I actually find it very good.
Everything else they ever done seems to get compared to Desert Places, and I didn't feel the need to do that. As a Krautrock album, As a Keepsake crashes and burns. As a "crossover prog" album, this rather good, and if you like crossover prog, this comes recommended. It might not have the extended jams of Desert Places, but it had nice songs and nice arrangements. I don't think they sold out, the production and the music is a bit too sophisticated. They go a bit in the Barclay James Harvest route here, which I guess was intentional, as they had toured with them. I even prefer this over the BJH album from the same time (Gone to Earth). This album has several songs I really enjoy including "Holidays", "Devilish Roundabout", "Going Back to Cologne" and "Maree". "Devilish Roundabout" features some nice acoustic guitar passages, plus I really love that vibraphone solo. While I enjoy Desert Places as much as the next proghead, I was surprised to find this enjoyable, and worthy of four stars.

Progfan97402



..::TRACK-LIST::..

1. Holidays 5:39
2. Reminiscent River 4:12
3. Devilish Roundabout 5:43
4. A Bit Foolish - A Bit Wise 5:58
5. Shady Way 4:14
6. Goin' Back To Cologne 3:54
7. Kew Gardens 4:26
8. Marée 4:38
9. No Time To Lose 4:26



..::OBSADA::..

Dieter Roesberg - electric, slide & acoustic (6- & 12-string) guitars, flutes, harmonica, vocals (6)
Gerald Dellmann - Hammond B3 organ, grand piano, Fender Rhodes, Hohner e-piano, synths (MiniMoog, ARP Strings), vibes, marimba, tubular bells, glockenspiel
Thomas Brück - bass, lead vocals
Wolfgang Hieronymi - drums

With:
Bernd Wippich - backing vocals
Freya Wippich - backing vocals
Rale Oberpichler - backing vocals
Horst Schaettgen - backing vocals
Herb Geller - alto sax (7)



https://www.youtube.com/watch?v=n973jXIk7J0


SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

Szósty, najnowszy album studyjny duńskiego zespołu punkowo-rockowego Iceage. Ukazał się 29 maja 2026 roku nakładem wytwórni Mexican Summer. Iceage to duński zespół założony w 2008 roku. W styczniu 2011 roku wraz z ukazaniem się ich debiutanckiego albumu New Brigade zyskał duże zainteresowanie mediów, a jego powstanie uznano za reaktywację duńskiej sceny punkowej. Magazyn muzyczny Soundvenue określił ich album jako „prawdopodobnie najważniejszy duński album od czasu Kliches Supertanker. Iceage powstał w 2008 roku, gdy członkowie zespołu mieli około 17 lat. Podpisali kontrakt z Escho i wydali debiutancki singiel w 2009 roku.

Title: For Love Of Grace And The Hereafter

Artist: Iceage

Country: Dania

Year: 2026

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Ember
2.Match Head Girl
3.The Weak
4.No Fear
5.Salve for Every Sore
6.Mother-of-Pearl
7.Tender Blades
8.1835
9.Star
10.Lifetime
11.Holy Water
12.True Blue

..::INFO::..

Jeśli szukamy czarnej awangardy, musimy być gotowi szukać jej w nieoczekiwanych miejscach. Droga do czarnej awangardy prowadzi – jak niektórzy mogą uznać – nietypowymi ścieżkami: tam, gdzie oni dostrzegają obcość, drogę donikąd, my widzimy jedynie piękno. Drogi, którymi podążał Darren Cunningham, autostrady, którymi jechał, by stworzyć Actress, stanowią rozdział w historii czarnej awangardy. Cunningham, piłkarz. Cunningham, mieszkaniec Wolverhampton. Cunningham, były piłkarz. Cunningham, DJ. Cunningham, londyńczyk. Cunningham, producent. Cunningham, malarz. Cunningham, pisarz. Cunningham, kompozytor. To właśnie tutaj rodzi się czarna awangarda w Wielkiej Brytanii. To tutaj trzeba się udać, by ją odnaleźć. W obszernej dyskografii obejmującej ponad dziesięć albumów Actress stworzył swój własny, tajemniczy język złożony z hermetycznych odniesień i międzywymiarowych kompozycji elektronicznych. „Radical Frame” ukazuje się 18 lat po debiutanckim albumie „Hazyville” i sprawia wrażenie apoteozy: obraz jest dopełniony. Słyszymy całą gamę charakterystycznych dla Actress elementów: krótkie wybuchy minimalistycznej muzyki, drobne szkice powiększonego brzmienia. Być może „Radical Frame” jest naczyniem, w którym zmieściło się wszystko, co Cunningham stworzył do tej pory. Ramą, którą przekazuje następnemu – kolejnemu artyście, który wytyczy własną ścieżkę w brytyjskiej czarnej awangardzie.

Title: Radical Frame

Artist: Actress

Country: Wielka Brytania

Year: 2026

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. The Experiment
2. Gimme Tha' Fuckin’ Money Man
3. Live By You (feat. CASISDEAD)
4. Overchord
5. Paris
6. Withending
7. Cosmo
8. Sheets (feat. Rainy Miller)

..::INFO::..

---------------------------------------------------------------------
Bryan Adams - So Far So Good
---------------------------------------------------------------------

Artist...............: Bryan Adams
Album................: So Far So Good
Genre................: Rock
Source...............: CD
Year.................: 1993
Ripper...............: EAC (Secure mode) / LAME 3.92 & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 71 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: A&M Records – Japan

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. Bryan Adams - Summer Of '69 [03:34]
2. Bryan Adams - Straight From The Heart [03:29]
3. Bryan Adams - It's Only Love [03:15]
4. Bryan Adams - Can't Stop This Thing We Started [04:28]
5. Bryan Adams - Do I Have To Say The Words [06:11]
6. Bryan Adams - This Time [03:19]
7. Bryan Adams - Run To You [03:53]
8. Bryan Adams - Heaven [04:03]
9. Bryan Adams - Cuts Like A Knife [05:12]
10. Bryan Adams - (Everything I Do) I Do It For You [06:34]
11. Bryan Adams - Somebody [04:42]
12. Bryan Adams - Kids Wanna Rock [02:35]
13. Bryan Adams - Heat Of The Night [05:05]
14. Bryan Adams - Please Forgive Me [05:56]

Playing Time.........: 01:02:20
Total Size...........: 446,56 MB

...( Info )...

Artist: Sanah
Album: Discography
Genre: Pop
Artist/Band Country: Poland
Release Year: 2019–2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 11:15:06


...( Opis )...


Sanah Zuzanna Irena Grabowska z domu Jurczak (ur. 2 września 1997 w Warszawie) – polska piosenkarka, multiinstrumentalistka, autorka tekstów i kompozytorka, wykonująca muzykę z pogranicza indie pop[, pop, synthpop, poezji śpiewanej, dance popi art pop[w innych językach]. Pierwsza Polka nagrodzona certyfikatem diamentowej płyty za solowy album muzyczny.

Pseudonim „sanah” powstał po skróceniu angielskiej wersji pierwszego imienia piosenkarki – Susannah (po polsku „Zuzanna”). Przedtem występowała pod pseudonimem „Ayreen” (po polsku „Irena”), pochodzącym od jej drugiego imienia


...( TrackList )...

(2019) Sanah - ja na imie niewidzialna mam - EP 00:24:15
(2020) Sanah - BUJDA - EP 00:30:29
(2020) Sanah - Krolowa dram (FINAL Edition) 01:17:44
(2020) Sanah - Krolowa dram 00:53:57
(2021) Sanah - Irenka (FINAL Edition) 01:28:25
(2022) Sanah - sanah spiewa Poezyje 00:31:12
(2022) Sanah - UCZTA 00:40:11
(2023) Sanah - Bankiet u sanah 01:32:18
(2024) Sanah - Can you love me for who I am_ Part 2 00:13:27
(2024) Sanah - Can you love me for who I am_ 00:12:48
(2024) Sanah - Kaprysy 01:00:52
(2024) Sanah - Pianinkowe Kaprysy 00:49:15
(2025) Sanah - Dwoje ludzienkow 00:44:41

...( Info )...

Original Title: Europe - Live at W:O:A 2015
Release Year: 2016
Genre: Rock
Director: Dave Cobb
Cast: Europe, Joey Tempest, John Norum, John Levén, Mic Michaeli, Ian Haugland, John Netti
Country: Germany
Studio: UDR GmbH/Hell & Back Recordings
Runtime: 01:24:34
Translation: Not required

...( Opis )...

„War of Kings” (Live at W:O:A 2015) to koncert szwedzkiego zespołu hardrockowego Europe, zarejestrowany w sierpniu 2015 roku na festiwalu Wacken Open Air w Niemczech. Na występie wykorzystano tytułowy utwór z ich dziesiątego albumu studyjnego, War of Kings, który ukazał się wcześniej tego roku (w marcu). Nagranie całego występu w Wacken zostało oficjalnie wydane 27 listopada 2015 roku przez UDR GmbH jako materiał bonusowy do specjalnej edycji albumu „War of Kings”. Wydanie było dostępne w kilku formatach multimedialnych.

...( TrackList )...

01. War Of Kings
02. Hole In My Pocket
03. Superstitious
04. Scream Of Anger
05. Last Look At Eden
06. The Second Day
07. Firebox
08. Sign Of The Times
09. Praise You
10. The Beast
11. Ready Or Not
12. Girl From Lebanon
13. Nothin' To Ya
14. Let The Good Times Rоck
15. Rоck The Night
16. Days Of Rock 'N' Roll
17. The Final Countdown


...( Dane Techniczne )...

Codec: MPEG-4 AVC
Quality: BDRip 1080p
Video: 1920x1080 at 23.976 fps 11.5 Mbps
Audio:
Audio 1: English 48 kHz, AC3, 2 ch, ~256.00 kbps avg
Audio 2: English 48 kHz, AC3, 3/2 (L,C,R,l,r) + LFE ch, ~448.00 kbps avg

https://i128.fastpic.org/big/2026/0928/ac/45154a10d6a9ea8e0c55d55da78c7eac.jpg

...( Info )...

Artist: VA
Title: For you [Vol. 157]
Year: 2026
Genre: Electronic, chillout
Duration: 03:14:06
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Stive Morgan - On The Pass Of Dreams
02. Meghedy - Электрогитара И Арфа V2
03. Blue System - Gangster Love (Cover Nove Rue)
04. Sandra - Footprints (Cover By Nove Rue)
05. Nove Rue - Going Nowhere
06. House Blues Music - Texas Blues Rock After Dark
07. Etta Golden - Home Was Never A Place
08. Frank Stone - Love Me Till I’m Gone
09. Etta Golden - If Heaven Has A Front Porch
10. Crossroads Records - Faded Velvet
11. Nia Monroe - A Table For The Left Behind
12. Velvet Voice Blues - Don't Waste Today
13. Etta Golden - Left With The Silence
14. Frank Stone - I Knew You Before Tonight
15. T & L - Where The Night Holds Us
16. Led Zeppelin - Stairway To Heaven (Blues Rock Version By Jesica Purple)
17. House Blues Music - Asphalt Mojo
18. Kenny Rogers - The Gambler (Blues Rock Version By Jesica Purple)
19. Metallica - The Unforgiven Ii (Blues Rock Version By Jesica Purple)
20. Phil Collins - In The Air Tonight (Blues Rock Version By Jesica Purple)
21. Pink Floyd - Wish You Were Here (Blues Rock Version By Jesica Purple)
22. Michael Jackson - Billie Jean (Blues Rock Version By Jesica Purple)
23. Stella Noir - I Don't Owe You A Goodbye
24. T & L - Let Them Talk About Me
25. Crossroads Records - The Pulse Still Beats - Signals Across The Dark
26. Liamora - Lost In Your Eyes
27. Mirava - Feel It
28. House Blues Music - He Turned A $2 Guitar Into The Loudest Dream
29. Stella Noir - I Was Already Gone
30. Nova Lane - Again My Love
31. Stillbeats - Forever Calls
32. Liamora - Walking Solo
33. Lovrite - You're My Only One
34. Mirava - You Left Me
35. Monica - Me Love Me
36. Nova Lane - Love Me Again
37. Stillbeats - Spring Love
38. Madison Brooks - Even On The Hard Days
39. Mara James - I Stopped Waiting
40. Velvet Voice Blues - Latin Blues Groove

...( Info )...

Artist: VA
Title: 10 Years Compilation
Year: 2026
Genre: House, Progressive-House
Duration: 13:03:15
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

001. Nahue Sintes & Fourni - U Don't Know (Alex O'Rion Vocal Mix) [8:37]
002. Nahuel Lucena - Moon Cowboys (DJ Ruby Remix) [7:38]
003. Jose Tabarez - Luca Libre (Kyotto Remix) [7:38]
004. Christian Monique - Rebirth (Andrea Cassino Remix) [8:24]
005. Essco - Rabbit Hole (Ivanshee Remix) [7:36]
006. Slow B - Domino (Domingo + Loveclub Remix) [8:03]
007. Noise Generation - Molos (Original Mix) [7:47]
008. Ocean of Emotion - Nora (Original Mix) [8:33]
009. ZB - 1999 (Jose Tabarez Remix) [8:20]
010. ZB - Canyon Fire (Roberto Caceres & Dave Cohen Remix) [6:45]
011. DJ Bird - Dream (Original Mix) [8:09]
012. Deep Shepherd - Hearts In Heaven (Original Mix) [7:13]
013. Deep Shepherd - Undue (Double ChaoS Remix) [7:37]
014. Deep Shepherd - Mir (Jose Tabarez Remix) [8:01]
015. D.jameson - Amethyst (Arno & Dirisio Remix) [10:57]
016. D.jameson - Gholem (Robert R. Hardy Remix) [8:32]
017. ZB - The Beautiful Stranger (Robert R. Hardy Remix) [8:37]
018. Christian Monique - Reflections (Robert R. Hardy Remix) [7:27]
019. Nicola Saladino - Mafra (Missus Remix) [9:05]
020. Nicola Saladino - Continue (Original Mix) [6:46]
021. DJ Bird - Arabic Theme (Dimuth K Remix) [7:31]
022. D.jameson - Tuareg (DJ Bird Remix) [9:03]
023. Alexander Miguel - Volta (Original Mix) [7:01]
024. Alexander Miguel - One Two (Imran Khan Remix) [7:37]
025. Hugo Brown - Ultraviolet (Jiminy Hop Remix) [8:32]
026. Kay-D - Unbroken (Erdi Irmak Remix) [6:52]
027. EDLands - Melody Fall (Difstate Remix) [7:51]
028. Bruno Andrada - Psycho Beat (DJ Bird Remix) [10:27]
029. Roberto Caceres - Keep Me Alive (Hot TuneiK Remix) [8:41]
030. Dave Leck - Where We Are (Mir Omar Remix) [8:01]
031. Dave Leck - Azure (Dynamic Illusion Remix) [8:12]
032. Slow B - Exit (Dave Leck Remix) [7:29]
033. Mayro - Shamanic Hunters (Original Mix) [7:32]
034. Mayro - Mandarine Distortion (Original Mix) [7:52]
035. Julian Nates - Approaching You (Monojoke Remix) [7:05]
036. Nahuel Lucena - Safari Sunset (Paul Kardos Remix) [8:44]
037. Ricardo Piedra - After Summer (Original Mix) [7:33]
038. Ricardo Piedra - Noukala (Tomek Remix) [7:33]
039. Katzen & Rodrigo Lapena - Consciente (Gonzalo Sacc, Rodrigo Lapena Remix) [9:11]
040. Pedro Capelossi - King Of The Dark Desert (NOIYSE PROJECT Remix) [8:29]
041. Pedro Capelossi - Grey Matter (Gaston Ponte Remix) [7:40]
042. Christian Monique - Rebirth (RnD (CRO) Progressive Remix) [7:37]
043. Christian Monique - Rebirth (Dowden Remix) [6:08]
044. JFR - Beautiful Loneliness (Jonnas B Remix) [8:54]
045. JFR - Invisible I Am (Fabri Lopez Remix) [8:45]
046. Ricardo Piedra - Graviton (Sebastian Sellares Remix) [9:36]
047. Iberican Storm - Asian Airport (Original Mix) [8:36]
048. Iberican Storm - Mokanica (Original Mix) [9:35]
049. Iberican Storm - Dreamcatcher (Meeting Molly Remix) [6:37]
050. Mariano Fuchilo - Powered (Original Mix) [8:50]
051. Soulmade (AR) - Quantum Space (Mariano Fuchilo Remix) [8:08]
052. Sapienta - Reborn (Original Mix) [8:05]
053. D.jameson & Sapienta - Motivation (Erich Von Kollar 'Rolling Brook' Remix) [7:37]
054. Four Candles & Ross Geldart - Fixation (DJ Bird Remix) [9:21]
055. Four Candles & Ross Geldart - Fixation (Jose Tabarez Remix) [8:07]
056. Dimel De Silva - Kawaakari (Original Mix) [8:13]
057. Papai ACCI Attila - Running On The Road (ALPHA21 & JUNIOR (SL) Remix) [7:37]
058. Travis Jesse - Nadir (Papai ACCI Attila Remix) [8:52]
059. Papai ACCI Attila - Beautiful Day (Stanisha Remix) [10:42]
060. Papai ACCI Attila - Beautiful Day (Benja Molina Remix) [7:43]
061. Nahue Sintes & Fourni - U Don't Know (NOIYSE PROJECT Remix) [8:22]
062. Nahue Sintes - Change My Memories (Mayro Remix) [6:54]
063. East Cafe - Battery Is High (Kyotto Remix) [7:13]
064. East Cafe - Battery Is High (Original Mix) [7:45]
065. East Cafe - Battery Is High (Rodrigo Lapena & Enzo Corigliano Remix) [8:57]
066. Essco - Headspace (Ewan Rill Remix) [6:52]
067. DJ Bird - Galactica (Original Mix) [8:41]
068. DJ Bird - Singing Forest (Mind Tourist Remix) [7:29]
069. Nicolas Soria - See You Again (Espen Remix) [7:33]
070. Luman - La Gravité (Nicolas Soria Remix) [7:23]
071. Hobin Rude - Abberatio (Vishnu (Lk) Remix) [8:34]
072. VegaZ SL & Hobin Rude - Crusader (Original Mix) [7:27]
073. Fretwell - You Don't Feel (Original Mix) [6:00]
074. Veytik - Phonecalls (Domingo + Loveclub Remix) [8:25]
075. Cream (PL) - Ground Zero (Original Mix) [7:55]
076. Papai ACCI Attila - Happy Kids (Weird Sounding Dude Remix) [7:25]
077. Nikola Jovanovic - Digital Emotions (Emi CA Remix) [7:01]
078. Nikola Jovanovic - Digital Emotions (Original Mix) [7:11]
079. Vishnu (Lk) - After Midnight (Thomas Compana Remix) [8:03]
080. Vishnu (Lk) - After Midnight (Diego Acosta (UY) & Enzo Paradiso Remix) [6:26]
081. Cut Knob - Reykjavik Sunrise (Evegrem Remix) [7:35]
082. Ocean of Emotion - From Inside (Yonsh Remix) [7:05]
083. Anymood - Coming Out (Original Mix) [5:49]
084. Anymood - Physical Love (Original Mix) [6:46]
085. Anymood - Can't Let You Go (Original Mix) [5:59]
086. Anymood - I'm Here (Original Mix) [5:52]
087. Melaniya - Deep Thought (Akos Gyorfy Remix) [6:25]
088. Toporoski - Stereo Love (Original Mix) [6:51]
089. Marc Denuit - Cosmic Transpose (Dublew,STEREO MUNK Remix) [8:22]
090. Sex Mind & BERDU - Analyse (Carlos Bacchus Remix) [7:11]
091. Dimas Mixon - Cairo (Original Mix) [9:05]
092. Slow B - Summer (St.Ego Remix) [6:50]
093. Slow B - Reality (Original Mix) [6:51]
094. Drekaan - Progress Report (Mindlancholic Remix) [7:44]
095. Drekaan - The Sophomaniac Medusa (DJ Bird Remix) [8:56]
096. Marc Denuit - Cosmic Transpose (Kebin Van Reeken Remix) [8:10]
097. Anymood - Holding You (Original Mix) [6:24]
098. ZB - Carmen (Cami'L REMIX) [6:46]
099. Christian Monique - Euphoria (Yuriy From Russia Remix) [7:57]
100. Mauro Masi - Malon (Original Mix) [6:17]

...( Info )...

Artist: Radiohead
Title: OK Computer (2017 Remastered)
Year: 1997/2017
Genre: Rock
Style: Alternative Rock
Label: XL Recordings Ltd
Duration: 00:53:27
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/48 kHz

...( TrackList )...



01. Airbag (00:04:44)
02. Paranoid Android (00:06:24)
03. Subterranean Homesick Alien (00:04:29)
04. Exit Music (For A Film) (00:04:25)
05. Let Down (00:04:59)
06. Karma Police (00:04:21)
07. Fitter Happier (00:01:57)
08. Electioneering (00:03:51)
09. Climbing The Walls (00:04:45)
10. No Surprises (00:03:48)
11. Lucky (00:04:20)
12. The Tourist (00:05:24)

..::INFO::..

---------------------------------------------------------------------
Uriah Heep - Rarities From The Bronze Age
---------------------------------------------------------------------

Artist...............: Uriah Heep
Album................: Rarities From The Bronze Age
Genre................: Rock
Source...............: CD
Year.................: 1991
Ripper...............: EAC (Secure mode) / LAME 3.92 & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Sequel Records

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. Uriah Heep - Look At Yourself [03:09]
2. Uriah Heep - Simon The Bullet Freak [03:28]
3. Uriah Heep - Gypsy [02:58]
4. Uriah Heep - Why [04:57]
5. Uriah Heep - Stealin` [03:18]
6. Uriah Heep - Sunshine [04:49]
7. Uriah Heep - What Can I Do [03:13]
8. Uriah Heep - Shout It Out [03:35]
9. Uriah Heep - Return To Fantasy [03:41]
10. Uriah Heep - Time Will Come [04:08]
11. Uriah Heep - Crime Of Passion [03:38]
12. Uriah Heep - Masquerade [03:47]
13. Uriah Heep - Gimme` Love (Struttin`) [03:16]
14. Uriah Heep - Cheater [03:59]
15. Uriah Heep - Been Hurt [03:53]
16. Uriah Heep - Love Stealer [03:25]
17. Uriah Heep - Think It Over [03:32]
18. Uriah Heep - My Joanna Needs Tuning [02:54]
19. Uriah Heep - Tin Soldier [03:53]
20. Uriah Heep - Son Of A Bitch [04:06]
21. Uriah Heep - Playing For Time [04:26]

Playing Time.........: 01:18:16
Total Size...........: 500,92 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Klasyczny niemiecki grind/death metal; szósta duża płyta z 1999 roku.
Reedycja VIC RECORDS zawiera również cover IMPETIGO "Wizzard of Gore".



After finally seeing Blood live, and being blown away by what I'd consider to be one of the best extreme metal shows I've ever witnessed, I think it's the best time to discuss in detail why I've always held these German wacks in such a high regard - considering them to be pretty much the best grindcore band of all time. I remember, during the earlier part of my adolescence, holding Carcass' "Reek of Putrefaction" as my all-time favorite grind album, being enamored with its inhuman putridity and insane riff galore, believing nothing could ever top it. Then, around the age of seventeen, I ran across Blood for the first time, hearing the track "Ebola", and of course I was floored: no grindcore band I knew up until then had ever sounded this violent, this powerful, this nasty, this wretched in spite of its extreme minimalism and streamlined presentation. Not too long after, I dove deep into Blood's discography, discovering and falling in love with the haunting, morbid extremity of works such as "O agios pethane" and "Christbait". But the album that really took the cake for me was the one featuring the track that made me a convert in the first place - an album that was even able to surpass what, up until that point, I'd consider to be the artistic peak of the genre. "Reek of Putrefaction" was not my favorite grindcore record anymore: "Gas. Flames. Bones." was.

I wonder why this album gets overlooked so often, even by Blood fans and by the band themselves. To me it's easily Blood's most violent, intense, consistent, all-encompassing work, yet it's probably also their least talked about, generally relegated to a mere footnote in their discography (especially since vocalist Martin Witchskinner rejoined the band, with live shows shifting their focus back to the first three records as a consequence of that). "Gas. Flames. Bones." is an abrupt departure from the formula of previous albums such as "Mental Conflicts" and "Depraved Goddess", which bore an overall lighter, less busy, more punk-laden approach featuring less intense riffs, more minimalistic songwriting and a generally more relaxed pace to the songs: on the contrary, this is probably Blood's grittiest, fiercest, overall busiest offering - cramming an insane amount of riffs in generally shorter amounts of space, with a stunning newfound sensibility, eloquence and dynamism in the songwriting department, in stark contrast to the relatively static songwriting of previous two works; this restless urgency is further aggravated by a rather severe, solemn atmosphere that's instantly established by the intro track, setting the mood for the album right at the start with a sample from Carl Orff's "Carmina Burana" (which, to be fair, was already featured on a track from "Depraved Goddess"), later joined by drums, bass and guitars accenting it and giving it a new level of gravitas and epic drama.

And fuck me if the album doesn't deliver on that, with the following nineteen tracks. This is Blood turned up to eleven in any conceivable regard: "Gas. Flames. Bones." blends the robust, choppy yet intensely atmospheric riffage heard on "Christbait", "O agios pethane" and (to a degree) "Mental Conflicts" with the merciless nonstop blasting of "Impulse to Destroy", all that with an added level of vehemence the band hadn't quite shown before. If "O agios pethane" just dared to gaze into the abyss of human depravity, "Gas. Flames. Bones." takes you straight into the slaughterhouse and smashes your skull with the most downright evil, pitch-black negative riffage the band has ever delivered in their career (enhanced by the grimy, sludgy guitar tone, both obesely heavy in the lower/mid frequencies and annoyingly buzzy in the highs), while Ventilator blasts restlessly and Clausi spews his hatred right into the mic. By the way, about Clausi's vocals: he's no Martin (whose performance on "Impulse to Destroy" remains one of a kind), but I find his role in carrying the band during the "Mental Conflicts"/"Dysangelium" era to be quite underrated. His ogre-like growls, while nothing revolutionary, always manage to sound notably expressive in spite of their - by nature - limited range: they're angry, mean-spirited and filled with utter hatred and contempt, at times tastefully emphasized by the occasional high rasps placed as backing vocals (which sound as devilish and sinister as they can ever get in grindcore), and it always feels like the guy is giving all he's got, never phoning it in - especially during the more relentless tracks such as "Mankind", whose chorus you're never going to forget once you've heard it.

The best word to describe Blood's trademark riffing would be tasty: at least, that's the feeling it always gave me. Bands like Depression and Rot have tried to replicate this style, but no one can quite pull it off as good as the originals (even though Rot's latest record is definitely the best attempt I've heard so far). Blood takes the fat, simple, straight-to-the-point riffing of death/grind staples like Terrorizer and improves upon it, giving it more depth, three-dimensionality and overall memorability. As a general rule, Blood riffs are some of the catchiest you're ever going to hear in grindcore: whether they're long-winded tremolos or ultra-minimal three-chord affairs, they're always granted to remain stuck in your head, and the band is always sure to develop and milk their already catchy motifs to the highest extent as far as the old school grind formula can go. A track like "Woundead", for instance, feels like a masterclass in extreme musical minimalism, showing how to indulge in just a few notes per song while still crafting and developing a theme that feels rich and dynamic, in a way that feels worthy of raw black metal champions such as Darkthrone, Von, Ildjarn and Profanatica. As a result, these tracks feel heavy and weighty but ultimately sweet and satisfying, pretty much the feeling you get when eating a fuckton of chocolate if you get what I mean - and well, "Gas. Flames. Bones." is without a doubt the one Blood album that's going to give you an indigestion.

First of all, you're gonna hear the most memorably wicked tremolo riffs the band has ever written on tracks such as "Screaming With No Face", "Perishment in Utter Ecstasy", "FH-70mm", "Serial Infanticide" and "Positional Warfare". Songs are also filled with tons of open-chord punky riffage, which was already making a significant comeback in Blood's sound by the times of "Depraved Goddess". Aside from your usual d-beat up-tempos in the vein of "Flames and Gas" or "Multiglobalised Fallacy", I also find worth noting that this is probably the Blood album with the most amount of pure, unadulterated grindcore minimalism since the times of "Impulse to Destroy", as it's immediately apparent by hearing tracks such as the rather lo-fi "Holy Rot": streams of quasi-atonal early Napalm Death power chords abound all throughout the record - and yet, even during those seemingly inarticulate sections, Blood's mature, distinct, well thought-out songwriting formula is still preserved, if not even emphasized to a higher degree; the main motifs of tracks like "Ebola" are built around two or three power chords - and yet they feel more "alive" and with more things to say than most prog discographies ever will, possessing such a distinct, unmistakable identity that it sounds unreal when you hear it. Despite this relatively high amount of stripped down punky minimalism, however, the more rigid, percussive approach developed between "Christbait" and "Mental Conflicts" in the form of choppier, chuggier riffage still plays an important role on numerous pieces such as "Auto Cannibalism", "Defaced Total Mutation" and "Fleshconsumer", at times even intertwining with the whirly grindcore riffs (see: "Derangement") in a dynamic, ever-changing stream of violence that never lets you off the hook and never gives you a chance to catch your breath, in a way that seems unthinkable for such an old school, minimalistic grind record. "Gas. Flames. Bones." manages to accomplish the kind of mature, narrative approach to grindcore songwriting that records like "Reek of Putrefaction" needed twice the amount of riffs to properly convey, and that's the album's secret strength in a nutshell.

And I still haven't talked about what happens when the songs slow down. Ohhh, boy: I've never been more happy to hear a grindcore record slow down than on "Gas. Flames. Bones." - and that's saying a lot, considering how much I've just praised the album's blasting sections. If you're familiar with famous Blood tunes such as "Spasmo Paralytic Dreams", you know how infectious their chugging mid-tempos can be - and on this album, this formula reaches its peak on "Der Henker", whose main riff is one you can't truly forget, and the grinding double-bass mid-paced attacks of "Hecatomb". Staying true to Blood's tried-and-true formula since the first album, songs like "Screaming With No Face", "Derangement" and "Serial Infanticide" feature some chugging mid-paced breaks which only serve to add some dynamism and make later blasting sections feel even more impactful. And yet, this particular Blood album adds an even more interesting ingredient to the mix: the second halves of tracks such as "Auto Cannibalism" and "Der Henker" feature some open-chord pauses/slowdowns with a rather martial, solemn rhythmic cadence that makes them feel more akin to black metal than anything death metal or grindcore-related. During these slower parts, the riffs are sludgier, more minimalistic and more dripping with misanthropic malevolence than anywhere else on the record - and these slow, almost black-ish interludes later morph into more apocalyptic, minimalistic grindcore blasting with such an intuitive naturalness that speaks volumes about this band's musical intelligence. I've heard Blood being associated multiple times with black metal despite their surface musical attributes sounding nothing like it: after all, many of their smaller gigs (like the one I attended last weekend) tend to revolve around a predominantly black/death-oriented bill, closer to the war metal scene than to the grindcore one - and let's also not forget that the band themselves used to wear some haphazardly-made corpsepaint on stage around the times of "O agios pethane" and "Mental Conflicts". However, to me this connection has never been more apparent than on "Gas. Flames. Bones.", especially during its slower portions: closing track "Positional Warfare" is a perfect way to wrap things up by emphasizing, through its rather epic construction and morbid use of melody, the album's evil, depraved nature that sounds more akin to Blasphemy or Goatpenis than Napalm Death or Repulsion in spirit.

Hey, wait a minute - all this chit-chat about guitar riffs and atmosphere has diverted me from discussing one of the most defining elements of this record and Blood as a whole: Ventilator's INSANE drumming. I can't really imagine this band without him: this is one of those cases, along with Cryptopsy and a few others, where the concept of the drummer being the engine of a band ascends to a whole new level of meaning. If you've read some of my past reviews about cult underground releases from the 80's, you might be aware of my slight preference for more old school, primitive forms of blasting - more chaotic and directly related to the thrash beat archetype. However, as far as proper extreme metal blast-beats go, Ventilator has always been among my favorites interpreters of the style. He's not a particularly fast drummer by current standards (although he was clearly ahead of the curve back in 1989), but nevertheless, he's often able to make his performance feel faster than it really is, through the sheer intensity of his playing: unlike many trigger-reliant extreme metal drummers of today (and seemingly keeping faith to D.D. Crazy's style), he never speeds up at the expense of hitting his drumkit with the reasonable amount of strength, and that makes his faster sections all the more impactful and significant. I swear his playing is ten times more stunning and jaw-dropping when heard live, but the albums where the ridiculous intensity of his drumming is more immediately apparent are "Impulse to Destroy" and "Gas. Flames. Bones." - the latter benefitting from ten more years of technical advancement, put at the service of a more lethally precise performance that truly leaves no survivors. Starting right from "Screaming With No Face", you're run over by a never-ending flood of blast-beats, overwhelming your senses like on no other Blood album ever. I generally tend to enjoy my grindcore with sloppier, less precise drumming (see: Mick Harris' crashing, mayhemic wall of sound on Napalm Death's first two records) - but this is one of those cases where technical precision, being implemented into such an overall intense musical framework, does truly benefit the music, instead of making it more streamlined and boring as it sadly is often the case.

The mix between "Gas. Flames. Bones."'s hyperactive songwriting and relentlessly fast drumming does really constitute what you'd call an explosive cocktail: Ventilator never sits on a beat for too long, switching between steamrolling blast-beats, restless d-beats and massive, grinding mid-tempos. Aside from the usual modern grind blasting, he even digs up some of those older, more primitive proto-blast skank beats that used to be very popular back in the late 80's and could still be heard at times on "Impulse to Destroy" (see: "Foulmouthed Politicians") on tracks such as "Serial Infanticide" or even the verse sections from "Flames and Gas". But the thing that sends me on the moon when it comes to Ventilator's drumming is the mercilessly precise violence of his breaks: really, this guy took grindcore's typical drum break and turned it into a mind-blowing art form. Past examples of that could be found on songs such as "Cannibal Ritual" (which I had the pleasure to hear live), but my favorite example ever can be found right on this album, more specifically on "Flames and Gas", which ends in a reckless blastfest accented by some of the sharpest, most precise drum breaks I've ever heard, getting more and more intense each time they repeat until the end of the song. This is another testament to Blood's unbelievable songwriting prowess, even concerning the tiniest, seemingly most trivial details.

I didn't plan for this review to be this long, but well, it seems like you can never give this album enough praise. "Gas. Flames. Bones." remains to this day my favorite work in the entire grindcore genre - a vibrant, inspired, splendidly crafted synthesis of all its best attributes (in a similar way to Vomitory's "Blood Rapture" for death metal), and I can't imagine anything possibly topping it. Could Mortician be counted as reasonable contenders? Well - they do possess a huge, undeniable grindcore baggage in their sound (further testified by their Napalm Death and Repulsion covers), but their thuggy musical approach is overall much more akin to your typical 90's NY brutal death act than any pre-2000 grindcore band; Blood on the other hand is pure old school death/grind, and no one does it better than they do on this record. Even though I was blown away by the live renditions of their earlier, more classic albums, I still wish the band would cover at least a handful of tracks from this criminally overlooked masterpiece I encourage any grindcore fan (both old school and modern) to check out. It's an album so violent, deranged, gritty and genuinely evil that it could truly have come out of the Nazi camps depicted on its cover.

Noise Maniakk



..::TRACK-LIST::..

1. Intro 1:52
2. Screaming With No Face 1:19
3. Flames And Gas 1:35
4. Auto Cannibalism 1:55
5. Ebola 1:23
6. Perishment In Utter Ecstasy 1:48
7. Defaced Total Mutation 1:02
8. 2011 0:06
9. Der Henker 2:48
10. Fleshconsumer 1:01
11. Multiglobalised Fallacy 1:20
12. Derangement 2:33
13. Woundead 0:41
14. FH-70mm 1:20
15. Holy Rot 1:49
16. Mankind 1:16
17. Serial Infanticide 2:16
18. Amputation 1:24
19. Hecatomb 1:41
2. Positional Warfare 2:13

Bonus Track:
21. Wizards Of Gore 3:24

Track 21 originally appeared on the tribute to Impetigo CD "Wizards of Gore" on Razorback Records and is extra for this edition.



..::OBSADA::..

Vocals - Clausi
Bass - Taki
Drums - Ventilator
Guitar - Eisen



https://www.youtube.com/watch?v=U6XsKsDyqKg


SEED 15:00-22:00.
POLECAM!!!