...( Info )...

Artist: Christopher Williams
Album: Liszt Complete Piano Music Vol. 65
Year: 2025
Genre: Classic
Quality: FLAC 24Bit-96kHz

...( TrackList )...

01. Rákóczi-Marsch nach der Orchesterbearbeitung, S. 244a
02. Magyar dallok, Book I, S. 242: No. 1, Lento
03. Magyar dallok, Book I, S. 242: No. 2, Andantino
04. Magyar dallok, Book I, S. 242: No. 3, Sehr langsam
05. Magyar dallok, Book I, S. 242: No. 4, Animato
06. Magyar dallok, Book I, S. 242: No. 5, Tempo giusto
07. Magyar dallok, Book I, S. 242: No. 6, Lento
08. Magyar dallok, Book II, S. 242: No. 7, Andante cantabile
09. Magyar dallok, Book III, S. 242: No. 8, Lento
10. Magyar dallok, Book III, S. 242: No. 9, Lento
11. Magyar dallok, Book IV, S. 242: No. 10, Adagio sostenuto a capriccio
12. Magyar dallok, Book IV, S. 242: No. 11, Andante sostenuto
13. Ungarische Nationalmelodie, Rákóczi-Marsch, S. 242-13a (Erleichtert)
14. Magyar tempo, S. 241b
15. Célèbre mélodie hongroise, S. 243a
booklet.pdf

...( Info )...
Artist: Krzysztof Klenczon I Trzy Korony
Album: Krzysztof Klenczon I Trzy Korony
Label: Polskie Nagrania Muza – 50217 3 22632 8 5
Series: Polskie Nagrania Catalogue Selections
Format: SACD, Hybrid, Stereo, Album, Limited Edition, Reissue, Remastered
Country: Poland
Released: 1971/2024
Genre: Pop Rock
Audio codec: Mp3 320 kbps

...( TrackList )...
1. 10 W Skali Beauforta  2:54
2. Wiosenna Miłość  2:37
3. Jestem Do Przodu  3:11
4. Świecą Gwiazdy Świecą  1:20
5. Coś  2:10
6. Piosenka O Niczym  3:52
7. Nie Przejdziemy Do Historii  5:16
8. Sprawię Sobie Niespodziankę  0:50
9. Spotkanie Z Diabłem  2:42
10.Stary Walc Przypomni Ci  3:15
11.Bierz Życie Jakie Jest  2:56
12.Już Nie Czas  3:21
13.Fatalny Dzień  2:17
14.Raz Na Tysiąc Nocy  2:27
15.Port  3:40
Nagrania Dodatkowe:
16.Kronika Podróży  3:35
17.Czyjaś Dziewczyna  3:27
18.Twój Czas (Daleka Droga)  3:41

Personnel:
Bass Guitar – Grzegorz Andrian
Electric Guitar, Vocals – Krzysztof Klenczon
Guitar – Ryszard Klenczon
Percussion – Piotr Stajkowski

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spotkałem się z wieloma opiniami, że ostatnie dzieło Diabolical Masquerade nie dość, że jest najlepszą płytą zespołu, to jest jednym z najlepszych albumów reprezentujących ekstremalną odmianę progresji. Znając jednak pierwsze trzy płyty i nie będąc specjalnie zachwycony nie wierzyłem tym opiniom.
Po przesłuchaniu płyty mogę się zgodzić z powyższą opinią jedynie połowicznie. Rzeczywiście jest to najlepsza płyta sygnowana logiem Diabolical Masquerade. Nie jest to jednak płyta, która w jakiś szczególny sposób zwróciła moją uwagę. "Death's Design" to jednak wielka ponad 40-minutowa suita podzielona na szereg pomniejszych utworów. Nie raz spotykałem płyty o podobnym charakterze i szczerze powiedziawszy wszystkie były lepsze od tej. Blackheim dalej hołduje wypracowanym przez siebie schematom. Jest więc nowocześnie, ale klimatycznie i ekstremalnie. Trochę mniej tu naleciałości w stylu Dimmu Borgir, ale za to mamy powrót do monotonii i powielania się. Nie pomaga nawet cała masa smyczków. Wiem, że albumy tego typu mają właśnie to do siebie, że mają klamrowy charakter i jakiś motyw przewodni zazwyczaj je spina, ale wydaje mi się, że tutaj za mało się dzieje, aby słuchacz dał się ponieść.

"Death's Design" to płyta poprawna, a nawet niezła. Nie zachęciła mnie ona jednak do kolejnego sięgnięcia po nią i póki co nie widzę inicjatywy ze swojej strony aby to się zmieniło.

Harlequin


An album that is as unique as it is amazing. Metal first, but highly innovative and diverse. Death, black and clean vocals, mellow and metal parts, electronic in moments, this album contains a wide spectrum of metal and prog landscapes. The quality of the songwriting is undeniable, and the execution is as good. The quantity of information here is phenomenal, so quite a few listens are recquired in order to digest it all. This album is not for the fainthearted, but the adventurous will be greatly rewarded. Truly a masterpiece, one of those one-of-a-kind albums you rarely come across (perhaps once every ten years).

Melomaniac


In 2001 Diabolical Masquerade, unfortunately, released their last EVER release. This was the magnificent "Death's Design". Comprising over 60 tracks, this release simply has to be inventive and progressive in order to keep the listener's attention. And believe me Blakkheim has succeeded in that perspective. The songs vary from very melodic black metal songs, albeit mostly without the fast drumming, to little 70s symphonic rock suits.

"Death's Design" was considered to be the official soundtrack to a horror film that never saw the light of day. The music here tells a story by itself, making the whole album feeling like a unique experience and in a way, a sort of musical journey.

Parts of songs are reoccurring quite often on the album thus connecting the whole album with each other. This makes the conceptual presence even bigger. The presence of Dan Swanö is easily noticeable; he has this typical sound when he plays keyboard and guitar, you immediately recognize him.

Being a bit of a fan of progressive metal, this release simply cannot be missing in your collection. It is one of the few truly progressive albums I know and there's things for anyone to like.

Tristan Mulders


The side project of Katatonia guitarist Anders Nystrom, Diabolical Masquerade would take a much different direction than the man's flagship band. Whereas Nystrom's may be most widely associated with doom metal or depressive rock, Diabolical Masquerade goes for a theatrical take on avant-garde black metal. Culminating in the project's final record, it is a shame that Diabolical Masquerade disbanded before a fifth release, but it is difficult to imagine a greater swansong from the band than this. With a host of classical musicians and guest artists taking part in 'Death's Design', Diabolical Masquerade has fashioned an album here that is every bit as ambitious as the other great albums in progressive metal. Self-styled as the soundtrack to some non-existent horror film, 'Death's Design' is a massive journey, every bit as cinematic as it is made out to be.

Although 'Death's Design' is split into a ridiculous amount of tracks, it is essentially one sprawling epic, much in the way of Edge Of Sanity's classic 'Crimson'. Think the black metal aspects of a band like Emperor fused with Opeth's melodic sensibilities, with the added vastness of a string section to give Diabolical Masquerade even more firepower. The first thing that arguably stands out about the record is the sheer amount of tracks it has, and this unnecessarily indulgent separation of what is otherwise a running piece of music may be the album's greatest flaw. With some tracks only being six seconds long, the sheer wonder and bewilderment as to why Blakkheim would have chopped up his masterpiece so haphazardly. From the perspective of listening to 'Death's Design' as a start-to-finish experience however, this does not affect the enjoyment, and it ultimately the only way one can go about listening to the record.

In terms of mood, things are very dark, but in a fairly different way than the sort of introspective darkness that Anders' band Katatonia conveys. Instead, the dark mood here is foreboding and very ominous; perfect for whatever imaginary film that this album could score. The entire album is tied together by a narrative and recurring musical themes; much like Edge Of Sanity's 'Crimson', once again. Most of the time, these ideas flow seamlessly from one another, each bringing a new dimension of fear or beauty to the album. Sometimes though, it does feel like Blakkheim and company forgot to add a transition here and there, or that some of the existing transitions could have been polished to lubricate the flow of the music. The musical ideas are almost constantly impressive however, so it is fairly difficult to let these minor flaws get in the way of the enjoyment.

Diabolical Masquerade has blown me away with this masterpiece of an album. Expect great things from this.

Conor Fynes


I love this album and never get tired of it because it has a taste of everything. It's like a party tray with a variety of different kinds of snacks, each with their own flavor and just the right amount.

The variety I am speaking of in this album is the levels of harmonies and extreme black metal throughout the 61 tracks of short tid bits of musical delight. You don't have too much of anything. The right amount of heavyiness and melody is spread out from begining to end. There's experimental noise, jazzy or melodic solos, upbeat rock, dark atmospheric metal, haunting melodies that will leave you breathless, and black metal.

At times, the album sounds like straight up horror movie suspense music, the kind you hear in a movie where the zombies or whatever are approaching and at others could be a beautiful medley, the kind you hear when the hero of a movie saves the day or comes to the rescue. The singing is mostly blood curdling vocals. Dan Swano's voice sometimes comes up in some tracks, it's beautiful and eerie at the same time, kind of like a Disney movie ballad from hell. The album is unique and perfect in it's own way with the oddly timed tracks, you don't get sick of anything cause everything is divided precisley short, the longest track is about two minutes.

The music sounds like it came out of a movie because, if you didn't know yet, it is an actual soundtrack to a film that unfortunatley was cancelled in production due to another movie with the same concept coming out, that movie was Final Destination, which you could say "stole" the whole concept of "death's design". The exact words, "death's design" were said in Final Destination, coincidence or blatant rip off, you be the judge.

I really wished the movie Death's Desgin was made, each track on this brilliant album was planned to be synchronized with each movie scene as the film would progress, hence the different moods and atmospheres the music creates to enhace the visual aspects you would view. Good thing the album was still made regardless of the movie never seeing the light of day......for now. The fate of the movie is still up in the air, but not sure if the album will still be used for it.

If you love this album, I'm sure you'll also like Sigh. They play a similar experimental black metal. Try listening to Sigh's Imagianry Sonicsacpe album if you haven't already. The style of music is quite similar to this. Dark at times then very beautiful and epic the next.

Megafury



..::TRACK-LIST::..

- 1:st MOVEMENT
1. Nerves in Rush (0:06)
2. Death Ascends - The Hunt (Part I) (0:15)
3. You Can't Hide Forever (0:23)
4. Right on Time for Murder - The Hunt (Part II) (1:31)

- 2:nd MOVEMENT
5. Conscious in No Materia (0:39)
6. A Different Plane (0:21)
7. Invisible to Us (0:40)
8. The One Who Hides a Face Inside (1:09)

- 3:rd MOVEMENT
9. ...And Don't Ever Listen to What It Says (0:56)
10. Revelation of the Puzzle (0:57)
11. Human Prophecy (0:20)
12. Where the Suffering Leads (0:18)

- 4:th MOVEMENT
13. The Remains of Galactic Expulsions (0:11)
14. With Panic in the Heart (0:22)
15. Out from the Dark (0:45)
16. Still Coming at You (0:29)
17. Out from a Deeper Dark (0:28)

- 5:th MOVEMENT
18. Spinning Back the Clocks (1:42)

- 6:th MOVEMENT
19. Soaring over Dead Rooms (2:18)

- 7:th MOVEMENT
20. The Enemy Is the Earth (0:35)
21. Recall (0:13)
22. All Exits Blocked (0:34)
23. The Memory Is Weak (0:11)
24. Struck at Random / Outermost Fear (0:19)
25. Sparks of Childhood Coming Back (0:27)

- 8:th MOVEMENT
26. Old People's Voodoo Seance (1:24)
27. Mary-Lee Goes Crazy (0:32)
28. Something Has Arrived (0:15)
29. Possession of the Voodoo Party (0:46)

- 9:th MOVEMENT
30. Not of Flesh, Not of Blood (0:50)
31. Intact with a Human Psyche (1:02)
32. Keeping Faith (1:06)

- 10:th MOVEMENT
33. Someone Knows What Scares You (0:29)
34. A Bad Case of Nerves (0:50)
35. The Inverted Dream / No Sleep in Peace (0:16)
36. Information (0:16)
37. Setting the Course (0:52)

- 11:th MOVEMENT
38. Ghost Inhabitants (0:49)
39. Fleeing from Town (1:01)
40. Overlooked Parts (0:50)

- 12:th MOVEMENT
41. A New Spark - Victory Theme (Part I) (0:48)
42. Hope - Victory Theme (Part II) (0:59)
43. Family Portraits - Victory Theme (Part III) (0:35)

- 13:th MOVEMENT
44. Smokes Starts to Churn (0:08)
45. Hesitant Behaviour (1:35)
46. A Hurricane of Rotten Air (0:18)

- 14:th MOVEMENT
47. Mastering the Clock (0:54)

- 15:th MOVEMENT
48. They Come, You Go (2:10)

- 16:th MOVEMENT
49. Haarad El Chamon (0:19)
50. The Egyptian Resort (0:34)
51. The Pyramid (0:23)
52. Frenzy Moods and Other Odditites (1:09)

- 17:th MOVEMENT
53. Still Part of the Design - The Hunt (Part III) (0:17)
54. Definite Departure (0:36)

- 18:th MOVEMENT
55. Returning to Haarad El Chamon (0:45)
56. Life Eater (0:32)
57. The Pulze (0:27)
58. The Defiled Feeds (0:36)

- 19:th MOVEMENT
59. The River in Space (0:56)
60. A Soulflight Back to Life (1:18)

- 20:th MOVEMENT
61. Instant Rebirth - Alternate Ending (0:05)



..::OBSADA::..

Diabolical Masquerade:
Blakkheim - rhythm (lead) acoustic and midi guitars, ambiances and vocals
Dan Swanö - Keyboards, ambiences and lead guitar solo on 'Keeping Faith' plus keyboard solo on 'A Hurricane Of Rotten Air' (Session musician)
Sean C. Bates - Drums and percussion (Session musician)
Ingmar Döhn - Bass guitar (Session musician)

The Maalten Quartet, Estonia:
Artieer Garsnek - violin #1
Jaak Gunst - violin #2
Heiki Schmolski - violin #3
Elmo Meltz - viola

Other Personnel:
AAG (Dag Swanö)[1] - Guitar solo on 'Possession Of The Voodoo Party', 'Frenzy Moods And Other Oddities', 'They Come, You Go', 'Still Part Of The Design - The Hunt (Part III)' and 'The Defiled Feeds'
Patrik Sesfors - jazz guitar on 'Overlooked Parts' and 'Mastering The Clock'
Konstantin Uweholst - cello
Jaari Fleger - grand piano




https://www.youtube.com/watch?v=h-s577-hx5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spotkałem się z wieloma opiniami, że ostatnie dzieło Diabolical Masquerade nie dość, że jest najlepszą płytą zespołu, to jest jednym z najlepszych albumów reprezentujących ekstremalną odmianę progresji. Znając jednak pierwsze trzy płyty i nie będąc specjalnie zachwycony nie wierzyłem tym opiniom.
Po przesłuchaniu płyty mogę się zgodzić z powyższą opinią jedynie połowicznie. Rzeczywiście jest to najlepsza płyta sygnowana logiem Diabolical Masquerade. Nie jest to jednak płyta, która w jakiś szczególny sposób zwróciła moją uwagę. "Death's Design" to jednak wielka ponad 40-minutowa suita podzielona na szereg pomniejszych utworów. Nie raz spotykałem płyty o podobnym charakterze i szczerze powiedziawszy wszystkie były lepsze od tej. Blackheim dalej hołduje wypracowanym przez siebie schematom. Jest więc nowocześnie, ale klimatycznie i ekstremalnie. Trochę mniej tu naleciałości w stylu Dimmu Borgir, ale za to mamy powrót do monotonii i powielania się. Nie pomaga nawet cała masa smyczków. Wiem, że albumy tego typu mają właśnie to do siebie, że mają klamrowy charakter i jakiś motyw przewodni zazwyczaj je spina, ale wydaje mi się, że tutaj za mało się dzieje, aby słuchacz dał się ponieść.

"Death's Design" to płyta poprawna, a nawet niezła. Nie zachęciła mnie ona jednak do kolejnego sięgnięcia po nią i póki co nie widzę inicjatywy ze swojej strony aby to się zmieniło.

Harlequin


An album that is as unique as it is amazing. Metal first, but highly innovative and diverse. Death, black and clean vocals, mellow and metal parts, electronic in moments, this album contains a wide spectrum of metal and prog landscapes. The quality of the songwriting is undeniable, and the execution is as good. The quantity of information here is phenomenal, so quite a few listens are recquired in order to digest it all. This album is not for the fainthearted, but the adventurous will be greatly rewarded. Truly a masterpiece, one of those one-of-a-kind albums you rarely come across (perhaps once every ten years).

Melomaniac


In 2001 Diabolical Masquerade, unfortunately, released their last EVER release. This was the magnificent "Death's Design". Comprising over 60 tracks, this release simply has to be inventive and progressive in order to keep the listener's attention. And believe me Blakkheim has succeeded in that perspective. The songs vary from very melodic black metal songs, albeit mostly without the fast drumming, to little 70s symphonic rock suits.

"Death's Design" was considered to be the official soundtrack to a horror film that never saw the light of day. The music here tells a story by itself, making the whole album feeling like a unique experience and in a way, a sort of musical journey.

Parts of songs are reoccurring quite often on the album thus connecting the whole album with each other. This makes the conceptual presence even bigger. The presence of Dan Swanö is easily noticeable; he has this typical sound when he plays keyboard and guitar, you immediately recognize him.

Being a bit of a fan of progressive metal, this release simply cannot be missing in your collection. It is one of the few truly progressive albums I know and there's things for anyone to like.

Tristan Mulders


The side project of Katatonia guitarist Anders Nystrom, Diabolical Masquerade would take a much different direction than the man's flagship band. Whereas Nystrom's may be most widely associated with doom metal or depressive rock, Diabolical Masquerade goes for a theatrical take on avant-garde black metal. Culminating in the project's final record, it is a shame that Diabolical Masquerade disbanded before a fifth release, but it is difficult to imagine a greater swansong from the band than this. With a host of classical musicians and guest artists taking part in 'Death's Design', Diabolical Masquerade has fashioned an album here that is every bit as ambitious as the other great albums in progressive metal. Self-styled as the soundtrack to some non-existent horror film, 'Death's Design' is a massive journey, every bit as cinematic as it is made out to be.

Although 'Death's Design' is split into a ridiculous amount of tracks, it is essentially one sprawling epic, much in the way of Edge Of Sanity's classic 'Crimson'. Think the black metal aspects of a band like Emperor fused with Opeth's melodic sensibilities, with the added vastness of a string section to give Diabolical Masquerade even more firepower. The first thing that arguably stands out about the record is the sheer amount of tracks it has, and this unnecessarily indulgent separation of what is otherwise a running piece of music may be the album's greatest flaw. With some tracks only being six seconds long, the sheer wonder and bewilderment as to why Blakkheim would have chopped up his masterpiece so haphazardly. From the perspective of listening to 'Death's Design' as a start-to-finish experience however, this does not affect the enjoyment, and it ultimately the only way one can go about listening to the record.

In terms of mood, things are very dark, but in a fairly different way than the sort of introspective darkness that Anders' band Katatonia conveys. Instead, the dark mood here is foreboding and very ominous; perfect for whatever imaginary film that this album could score. The entire album is tied together by a narrative and recurring musical themes; much like Edge Of Sanity's 'Crimson', once again. Most of the time, these ideas flow seamlessly from one another, each bringing a new dimension of fear or beauty to the album. Sometimes though, it does feel like Blakkheim and company forgot to add a transition here and there, or that some of the existing transitions could have been polished to lubricate the flow of the music. The musical ideas are almost constantly impressive however, so it is fairly difficult to let these minor flaws get in the way of the enjoyment.

Diabolical Masquerade has blown me away with this masterpiece of an album. Expect great things from this.

Conor Fynes


I love this album and never get tired of it because it has a taste of everything. It's like a party tray with a variety of different kinds of snacks, each with their own flavor and just the right amount.

The variety I am speaking of in this album is the levels of harmonies and extreme black metal throughout the 61 tracks of short tid bits of musical delight. You don't have too much of anything. The right amount of heavyiness and melody is spread out from begining to end. There's experimental noise, jazzy or melodic solos, upbeat rock, dark atmospheric metal, haunting melodies that will leave you breathless, and black metal.

At times, the album sounds like straight up horror movie suspense music, the kind you hear in a movie where the zombies or whatever are approaching and at others could be a beautiful medley, the kind you hear when the hero of a movie saves the day or comes to the rescue. The singing is mostly blood curdling vocals. Dan Swano's voice sometimes comes up in some tracks, it's beautiful and eerie at the same time, kind of like a Disney movie ballad from hell. The album is unique and perfect in it's own way with the oddly timed tracks, you don't get sick of anything cause everything is divided precisley short, the longest track is about two minutes.

The music sounds like it came out of a movie because, if you didn't know yet, it is an actual soundtrack to a film that unfortunatley was cancelled in production due to another movie with the same concept coming out, that movie was Final Destination, which you could say "stole" the whole concept of "death's design". The exact words, "death's design" were said in Final Destination, coincidence or blatant rip off, you be the judge.

I really wished the movie Death's Desgin was made, each track on this brilliant album was planned to be synchronized with each movie scene as the film would progress, hence the different moods and atmospheres the music creates to enhace the visual aspects you would view. Good thing the album was still made regardless of the movie never seeing the light of day......for now. The fate of the movie is still up in the air, but not sure if the album will still be used for it.

If you love this album, I'm sure you'll also like Sigh. They play a similar experimental black metal. Try listening to Sigh's Imagianry Sonicsacpe album if you haven't already. The style of music is quite similar to this. Dark at times then very beautiful and epic the next.

Megafury



..::TRACK-LIST::..

- 1:st MOVEMENT
1. Nerves in Rush (0:06)
2. Death Ascends - The Hunt (Part I) (0:15)
3. You Can't Hide Forever (0:23)
4. Right on Time for Murder - The Hunt (Part II) (1:31)

- 2:nd MOVEMENT
5. Conscious in No Materia (0:39)
6. A Different Plane (0:21)
7. Invisible to Us (0:40)
8. The One Who Hides a Face Inside (1:09)

- 3:rd MOVEMENT
9. ...And Don't Ever Listen to What It Says (0:56)
10. Revelation of the Puzzle (0:57)
11. Human Prophecy (0:20)
12. Where the Suffering Leads (0:18)

- 4:th MOVEMENT
13. The Remains of Galactic Expulsions (0:11)
14. With Panic in the Heart (0:22)
15. Out from the Dark (0:45)
16. Still Coming at You (0:29)
17. Out from a Deeper Dark (0:28)

- 5:th MOVEMENT
18. Spinning Back the Clocks (1:42)

- 6:th MOVEMENT
19. Soaring over Dead Rooms (2:18)

- 7:th MOVEMENT
20. The Enemy Is the Earth (0:35)
21. Recall (0:13)
22. All Exits Blocked (0:34)
23. The Memory Is Weak (0:11)
24. Struck at Random / Outermost Fear (0:19)
25. Sparks of Childhood Coming Back (0:27)

- 8:th MOVEMENT
26. Old People's Voodoo Seance (1:24)
27. Mary-Lee Goes Crazy (0:32)
28. Something Has Arrived (0:15)
29. Possession of the Voodoo Party (0:46)

- 9:th MOVEMENT
30. Not of Flesh, Not of Blood (0:50)
31. Intact with a Human Psyche (1:02)
32. Keeping Faith (1:06)

- 10:th MOVEMENT
33. Someone Knows What Scares You (0:29)
34. A Bad Case of Nerves (0:50)
35. The Inverted Dream / No Sleep in Peace (0:16)
36. Information (0:16)
37. Setting the Course (0:52)

- 11:th MOVEMENT
38. Ghost Inhabitants (0:49)
39. Fleeing from Town (1:01)
40. Overlooked Parts (0:50)

- 12:th MOVEMENT
41. A New Spark - Victory Theme (Part I) (0:48)
42. Hope - Victory Theme (Part II) (0:59)
43. Family Portraits - Victory Theme (Part III) (0:35)

- 13:th MOVEMENT
44. Smokes Starts to Churn (0:08)
45. Hesitant Behaviour (1:35)
46. A Hurricane of Rotten Air (0:18)

- 14:th MOVEMENT
47. Mastering the Clock (0:54)

- 15:th MOVEMENT
48. They Come, You Go (2:10)

- 16:th MOVEMENT
49. Haarad El Chamon (0:19)
50. The Egyptian Resort (0:34)
51. The Pyramid (0:23)
52. Frenzy Moods and Other Odditites (1:09)

- 17:th MOVEMENT
53. Still Part of the Design - The Hunt (Part III) (0:17)
54. Definite Departure (0:36)

- 18:th MOVEMENT
55. Returning to Haarad El Chamon (0:45)
56. Life Eater (0:32)
57. The Pulze (0:27)
58. The Defiled Feeds (0:36)

- 19:th MOVEMENT
59. The River in Space (0:56)
60. A Soulflight Back to Life (1:18)

- 20:th MOVEMENT
61. Instant Rebirth - Alternate Ending (0:05)



..::OBSADA::..

Diabolical Masquerade:
Blakkheim - rhythm (lead) acoustic and midi guitars, ambiances and vocals
Dan Swanö - Keyboards, ambiences and lead guitar solo on 'Keeping Faith' plus keyboard solo on 'A Hurricane Of Rotten Air' (Session musician)
Sean C. Bates - Drums and percussion (Session musician)
Ingmar Döhn - Bass guitar (Session musician)

The Maalten Quartet, Estonia:
Artieer Garsnek - violin #1
Jaak Gunst - violin #2
Heiki Schmolski - violin #3
Elmo Meltz - viola

Other Personnel:
AAG (Dag Swanö)[1] - Guitar solo on 'Possession Of The Voodoo Party', 'Frenzy Moods And Other Oddities', 'They Come, You Go', 'Still Part Of The Design - The Hunt (Part III)' and 'The Defiled Feeds'
Patrik Sesfors - jazz guitar on 'Overlooked Parts' and 'Mastering The Clock'
Konstantin Uweholst - cello
Jaari Fleger - grand piano




https://www.youtube.com/watch?v=h-s577-hx5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będąc zdrowym na umyśle i wątrobie stwierdzam wszem i wobec, że kocham tych chilijskich brutali, mimo że absolutnie nie jestem gejem. Muzyka tworzona przez ten kwartet od lat przemawia do mnie z całą swą mocą i wielce cieszy strzępki mej wyjebanej w ogniu walki duszy. Panowie napierdalają bowiem niezmiennie tradycyjny, gęsty, smolisty oldschool Death Metal, który rozpierdala w pizdu i miażdży wszystko, co stanie mu na drodze!!!
Wyobraźcie sobie rdzeń inspirowany głęboko twórczością Immolation, do którego z należytym wyczuciem dokładane są nieco bardziej dzikie, nieoczywiste i niepokojące rytmy oraz dysonansowe, atonalne zagrywki i delikatne dotknięcie mrocznego parapetu, a otrzymacie w przybliżeniu obraz twórczości Unaussprechlichen Kulten. Zaprawdę powiadam Wam, doskonała to muza, która spuszcza totalny wpierdol i rozrywa na strzępy nieskalane, niewinne duszyczki. Ja do nieskalanych ani tym bardziej niewinnych nie należę, więc z masochistyczną przyjemnością poddaję się chłoście, jaką sprawia „Teufelbücher” i każdorazowo proszę o więcej. Każdy słyszalny tu instrument świadczy o mistrzowskim opanowaniu warsztatu, który zespół osiągnął na przestrzeni lat spędzonych na scenie. Szalone bębny, jak i wgniatające w glebę wiosła płynnie zmieniają rytmikę i ze wsparciem mocnego basu kreślą solidnie momentami powykręcane figury bez utraty brutalności i siły przekazu, a uzupełnione bezkompromisowym, zrozumiałym, bluźnierczym growlingiem niszczą, poniewierają i mielą bezlitośnie jak chuj! Doskonały album! Uważam, że to jedna z najlepszych płyt Death Metalowych, jakie ukazały się w 2019 roku i gotów jestem bronić tego stwierdzenia krwią własną, a każdego, kto odważy się sądzić inaczej wyzywam na walkę konną lub pieszą! Jest więc taki, co podniesie rękawicę?!

Hatzamoth


Some people hear Chile in association with death metal and think of fantastic bands such as Pentagram and Dominus Xul. Some people, who I think are sadly ignorant of one of the world’s richest metal scenes, don’t think of much at all. Unaussprechlichen Kulten are firmly on my list of classic Chilean bands worth listening to. Much like Drawn and Quartered and Funebrarum, they’ve been operating since the ‘90s but got started just a little too late to be considered a classic band, or to debut when their style of death metal had many fans active. Add that to the issues that all South Americans have with breaking out and you get one of death metal’s most consistent and killer bands being sadly unappreciated in the larger scene, something that I hope will finally change with the band’s fifth full-length album, Teufelsbücher.

In my review of Unaussprechlichen Kulten’s last album, I noted that the core of their sound was rooted in the classic Immolation formula. While you can still hear that (sort of), this isn’t really the case anymore. Focusing entirely on the riffs and ignoring the drumming and vocals, it becomes apparent that Kulten no longer really do that. There’s a relative lack of “brutal” riffs at this point, replaced instead by angular, creepy staccato leads, tremolo melodies, and distressing off-kilter rhythms that often don’t really match up guitar to guitar. Nothing is simple anymore, with every single thing being played on the guitar standing in stark contrast to what the band was playing a decade ago; even when the guitars fall a little more in line with something more conventional, they’re usually not playing the same notes, lending themselves to the horrifying atmosphere that Unaussprechlichen Kulten creates.

Every song on Teufelsbücher is a long one, which also stands in opposition to the early years of the band. I noted when Keziah Lilith Medea came out that they had written their longest song, clocking in at around seven and a half minutes. Now, only two of the six songs are under that approximate length, and even those aren’t short ones. Because the drumming and vocals root the material more firmly in death metal, it’s easy to not notice the sheer complexity of the songwriting in a casual listen, but the song lengths are really necessary to let everything going on breathe; where a lesser band’s long songs might be due to bloat or indecision, Unaussprechlichen Kulten use every note to its fullest effect, bouncing constantly between different tempos and ideas, sometimes stringing along sections by no more of a cord than strained vocals or a haunting melody played alone.

Each instrument on Unaussprechlichen Kulten speaks to the mastery of music that the band has achieved over the long years that they’ve been playing. The drums are as frantic as the guitars, changing beats and tempos as fluidly as I’ve ever heard in death metal to keep the entire package from going off the rails. The bass provides a solid rhythmic backing without losing power, infrequent synths don’t overpower when they pop in, and the vocals are deep and clear without losing intelligibility; the production that allows everything to be audible should be applauded nearly as much as the music, because it can’t be easy to mix something this dense. A final commendation goes to the fantastic artwork from Rodrigo Pereira, who seems relatively unknown outside of his country but is definitely one of the best in the industry right now.

Unaussprechlichen Kulten was already possibly my favorite active Chilean band before Teufelsbücher, but now they definitely are, even over more venerated acts from their country—hell, they’re one of the best in the game worldwide right now. These guys are absolutely insane and deserve every bit of attention that lesser bands are getting right now, and I can’t wait to see them live next month. This is the band to sell your soul to as you sink into the depths of death metal despair, for you’ll never be their match—they are Unaussprechlichen Kulten, and they’re here to stay.

HighwayCorsair



..::TRACK-LIST::..

I. The Evil Out Of Control 7:39
II. Keziah Lilith Medea 5:34
III. Cranquiluria (Creatura Aquae Parte 3) 7:27
IV. A Search And An Evocation (Spirals Of Acrid Smoke Part. 2) 6:07
V. Flapping Membraneous Wings (Shining Trapezohedron) 7:26
VI. Necromancy And Torment 8:24



..::OBSADA::..

Herbert West - Guitars
Namru Impetradorum Mortem - Bass
Joseph Curwen - Vocals, Guitars
Butcher of Christ - Drums




https://www.youtube.com/watch?v=bVvdHcYRg28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będąc zdrowym na umyśle i wątrobie stwierdzam wszem i wobec, że kocham tych chilijskich brutali, mimo że absolutnie nie jestem gejem. Muzyka tworzona przez ten kwartet od lat przemawia do mnie z całą swą mocą i wielce cieszy strzępki mej wyjebanej w ogniu walki duszy. Panowie napierdalają bowiem niezmiennie tradycyjny, gęsty, smolisty oldschool Death Metal, który rozpierdala w pizdu i miażdży wszystko, co stanie mu na drodze!!!
Wyobraźcie sobie rdzeń inspirowany głęboko twórczością Immolation, do którego z należytym wyczuciem dokładane są nieco bardziej dzikie, nieoczywiste i niepokojące rytmy oraz dysonansowe, atonalne zagrywki i delikatne dotknięcie mrocznego parapetu, a otrzymacie w przybliżeniu obraz twórczości Unaussprechlichen Kulten. Zaprawdę powiadam Wam, doskonała to muza, która spuszcza totalny wpierdol i rozrywa na strzępy nieskalane, niewinne duszyczki. Ja do nieskalanych ani tym bardziej niewinnych nie należę, więc z masochistyczną przyjemnością poddaję się chłoście, jaką sprawia „Teufelbücher” i każdorazowo proszę o więcej. Każdy słyszalny tu instrument świadczy o mistrzowskim opanowaniu warsztatu, który zespół osiągnął na przestrzeni lat spędzonych na scenie. Szalone bębny, jak i wgniatające w glebę wiosła płynnie zmieniają rytmikę i ze wsparciem mocnego basu kreślą solidnie momentami powykręcane figury bez utraty brutalności i siły przekazu, a uzupełnione bezkompromisowym, zrozumiałym, bluźnierczym growlingiem niszczą, poniewierają i mielą bezlitośnie jak chuj! Doskonały album! Uważam, że to jedna z najlepszych płyt Death Metalowych, jakie ukazały się w 2019 roku i gotów jestem bronić tego stwierdzenia krwią własną, a każdego, kto odważy się sądzić inaczej wyzywam na walkę konną lub pieszą! Jest więc taki, co podniesie rękawicę?!

Hatzamoth


Some people hear Chile in association with death metal and think of fantastic bands such as Pentagram and Dominus Xul. Some people, who I think are sadly ignorant of one of the world’s richest metal scenes, don’t think of much at all. Unaussprechlichen Kulten are firmly on my list of classic Chilean bands worth listening to. Much like Drawn and Quartered and Funebrarum, they’ve been operating since the ‘90s but got started just a little too late to be considered a classic band, or to debut when their style of death metal had many fans active. Add that to the issues that all South Americans have with breaking out and you get one of death metal’s most consistent and killer bands being sadly unappreciated in the larger scene, something that I hope will finally change with the band’s fifth full-length album, Teufelsbücher.

In my review of Unaussprechlichen Kulten’s last album, I noted that the core of their sound was rooted in the classic Immolation formula. While you can still hear that (sort of), this isn’t really the case anymore. Focusing entirely on the riffs and ignoring the drumming and vocals, it becomes apparent that Kulten no longer really do that. There’s a relative lack of “brutal” riffs at this point, replaced instead by angular, creepy staccato leads, tremolo melodies, and distressing off-kilter rhythms that often don’t really match up guitar to guitar. Nothing is simple anymore, with every single thing being played on the guitar standing in stark contrast to what the band was playing a decade ago; even when the guitars fall a little more in line with something more conventional, they’re usually not playing the same notes, lending themselves to the horrifying atmosphere that Unaussprechlichen Kulten creates.

Every song on Teufelsbücher is a long one, which also stands in opposition to the early years of the band. I noted when Keziah Lilith Medea came out that they had written their longest song, clocking in at around seven and a half minutes. Now, only two of the six songs are under that approximate length, and even those aren’t short ones. Because the drumming and vocals root the material more firmly in death metal, it’s easy to not notice the sheer complexity of the songwriting in a casual listen, but the song lengths are really necessary to let everything going on breathe; where a lesser band’s long songs might be due to bloat or indecision, Unaussprechlichen Kulten use every note to its fullest effect, bouncing constantly between different tempos and ideas, sometimes stringing along sections by no more of a cord than strained vocals or a haunting melody played alone.

Each instrument on Unaussprechlichen Kulten speaks to the mastery of music that the band has achieved over the long years that they’ve been playing. The drums are as frantic as the guitars, changing beats and tempos as fluidly as I’ve ever heard in death metal to keep the entire package from going off the rails. The bass provides a solid rhythmic backing without losing power, infrequent synths don’t overpower when they pop in, and the vocals are deep and clear without losing intelligibility; the production that allows everything to be audible should be applauded nearly as much as the music, because it can’t be easy to mix something this dense. A final commendation goes to the fantastic artwork from Rodrigo Pereira, who seems relatively unknown outside of his country but is definitely one of the best in the industry right now.

Unaussprechlichen Kulten was already possibly my favorite active Chilean band before Teufelsbücher, but now they definitely are, even over more venerated acts from their country—hell, they’re one of the best in the game worldwide right now. These guys are absolutely insane and deserve every bit of attention that lesser bands are getting right now, and I can’t wait to see them live next month. This is the band to sell your soul to as you sink into the depths of death metal despair, for you’ll never be their match—they are Unaussprechlichen Kulten, and they’re here to stay.

HighwayCorsair



..::TRACK-LIST::..

I. The Evil Out Of Control 7:39
II. Keziah Lilith Medea 5:34
III. Cranquiluria (Creatura Aquae Parte 3) 7:27
IV. A Search And An Evocation (Spirals Of Acrid Smoke Part. 2) 6:07
V. Flapping Membraneous Wings (Shining Trapezohedron) 7:26
VI. Necromancy And Torment 8:24



..::OBSADA::..

Herbert West - Guitars
Namru Impetradorum Mortem - Bass
Joseph Curwen - Vocals, Guitars
Butcher of Christ - Drums




https://www.youtube.com/watch?v=bVvdHcYRg28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album taki jak 'The Overview' mógł nagrać tylko Steven Wilson. Wydawnictwo jest bez wątpienia jednym z najbardziej unikatowych albumów 2025 roku.
Do odsłuchu zalecam słuchawki oraz otwarty umysł...



Trzeba przyznać, że Steven Wilson ma nosa do wyszukiwania intrygujących tematów, mających stanowić punkt wyjścia do tworzenia wraz z artystycznymi kompanami muzyczno-słowno-graficznych concept-albumów. Tym razem postanowił na swój sposób zinterpretować niezwykłe zjawisko „efektu oglądu”, czy też „kosmicznej euforii”, a więc wyjątkowego mentalno-percepcyjnego stanu, jakiego doświadczają niektórzy astronauci, obserwując Ziemię z dużej odległości w czasie rzeczywistym. Trudno o bardziej podatny interpretacyjnie grunt dla muzyka tak świadomie przez lata inspirującego się space-rockiem i muzyką elektroniczną, i tak doświadczonego w kreowaniu specyficznymi środkami estetyki przywołującej kosmiczne skojarzenia. A gdyby jeszcze dodać, że podjęta tematyka została wpisana na „The Overview” w powracającą po latach, sprawdzoną progrockową formułę, to łatwo o wniosek, że Wilson tworząc materiał na nową płytę musiał czuć się jak ryba w wodzie. Czy sprzyjające okoliczności jednak wystarczyły, by stworzyć muzykę nie tylko atrakcyjną dziś, ale i będącą w stanie pozostać taką na dużo dłużej?

Album został rozpisany na dwie około dwudziestominutowe części. Pierwszej suicie, zatytułowanej „Objects Outlive Us”, bliżej do najbardziej klasycznych rozwiązań rocka progresywnego. Oparta na schematycznym dramaturgicznym wzorze, z obowiązkowymi typowo progrockowymi paralelizmami, tutaj polega tak na ogranych elementach, jak i składowych mających wyraźniejszy wpływ na charakter całości. Mamy więc tradycyjne „fabularne” opowieści wokalne (co ciekawe, jedna z nich obdarzona jest tekstem Andy’ego Partridge’a z XTC), mamy również dość wyświechtane partie instrumentalne na zasadzie basowo-gitarowych riffów czy tradycyjne już dla „progresywnego” Wilsona nawiązania do specyficznej melodyki Mahavishnu Orchestra. Tym, co jednak zwraca szczególnie uwagę i wpływa na niełatwy, nieoczywisty odbiór kompozycji, są monotonne, niemelodyjne, wielogłosowe, rwane melodeklamacje, przywołujące oczywiste skojarzenia z podobnymi akcentami obecnymi na „Tales From Topografic Oceans” Yes, czy nieco dalsze – z dokonaniami Philipa Glassa.

O ile pierwsza kompozycja jako całość sprawia wrażenie czegoś w rodzaju kosmicznego traktatu filozoficznego, o tyle tytułowa „The Overview”, to już penetracja kosmicznych przestworzy w pełnej krasie. Więcej tu elektroniki, mniej gitar, więcej przestrzeni i klimatu, mniej wirtuozerii. Astronautyczne reminiscencje „Astronomy Domine” wprowadzają w podszyty elektroniką traktat o rozmaitych galaktykach i ich parametrach, by po chwili otworzyć przestrzeń dla iście Gilmourowskiej ballady. W drugiej połowie utworu robi się ciekawiej: „Infinity Measured” to przebogaty aranżacyjnie fragment chyba najtrafniej oddający cechy owej „kosmicznej euforii”, natomiast następująca po nim koda płyty („Permanence”) to przestrzenna syntezatorowo-saksofonowa, ascetyczna wręcz, miniatura przywołująca klimaty ambientów Briana Eno czy Harolda Budda.

Steven Wilson, tak dobrze kojarzony z aranżacyjną, foniczną drobiazgowością, na całej płycie oferuje całą gamę niespodzianek, by wspomnieć choćby jedynie charakterystyczne rwane szarpnięcia strun telecastera przewijające się przez całe „Objects Outlive Us” czy obecne na całym albumie moduły wydobywane z syntezatora ARP 2600. Jak zwykle, starannie dobrał też instrumentalistów ucieleśniających jego bogate wizje – szczególne wspomnienie należy się tu Russellowi Holzmanowi (synowi klawiszowca Adama Holzmana), który jako trzydziestoletni muzyk, będący dotąd przede wszystkim perkusyjną postacią social-medialną, wyczynia rytmiczne cuda w pierwszej suicie.

Litania pochwał formy, którą przyjął i wypełnił Wilson na nowej płycie, jej interesujących składowych, tak konstrukcyjnych, jak i pełniących funkcję instrumentalnych środków wyrazu, mogłaby trwać w najlepsze, choć ostatecznie łatwo w obliczu tego bogactwa o dość gorzką refleksję. Czy aby artysta nie zapędził się do punktu, w którym zaczyna w pewnym sensie uprawiać już sztukę dla sztuki? Muzykę brzmiącą wspaniale, intrygującą środkami, ale być może nie dość mocno grającą na emocjach. Już w przypadku poprzedniej płyty „The Harmony Codex” wyrażałem obawy, czy audiotechniczne ambicje i niezaprzeczalne zdolności Wilsona nie wezmą góry nad muzyką samą w sobie – i tu owa wizja wydaje się spełniać jeszcze bardziej. O ile bowiem „The Overview” bez zastanowienia można określić mianem progresywnej audiofilskiej kosmicznej podróży, o tyle obawiam się, że podróż ta, wśród zapierających dech międzygwiezdnych ekspozycji, może kończyć się wrażeniem pewnej pustki.

Trochę brakuje mi pewnego punktu zaczepienia na tym albumie, akcentu, który pomógłby tej muzyce bronić się po dłuższym czasie. Brakuje jakiejś magicznej iskry, świetnej uzależniającej melodii, porywającej piosenki. Pewnej specyficznej głębi, która w przeszłości sprawiała, że swoimi pomysłami Wilson kupował moją uwagę i estymę niezwykle łatwo, wręcz instynktownie. „The Overview”, choć jest kolejnym godnym pochwał dowodem na artystyczną bezkompromisowość Stevena Wilsona, to jednak może razić brakiem pewnej kosmicznej siły, o której artysta zdaje się pomału zapominać.

Przemysław Stochmal



..::TRACK-LIST::..

1. OBJECTS OUTLIVE US (23.17)
- No Monkey’s Paw
- The Buddha Of The Modern Age
- Objects: Meanwhile
- The Cicerones
- Ark
- Cosmic Sons Of Toil
- No Ghost On The Moor
- Heat Death Of The Universe

2. THE OVERVIEW (18.27)
- Perspective
- A Beautiful Infinity I
- Borrowed Atoms
- A Beautiful Infinity II
- Infinity Measured In Moments
- Permanence



..::OBSADA::..

Steven Wilson - Vocals, guitars, keyboards, sampler, bass, percussion, programming, strings, piano
Adam Holzman - Keyboards, mellotron, Hammond organ, piano, modular synth, Rhodes piano
Randy McStine - Guitars, sound design, FX, backing vocals, harmony vocals
Craig Blundell - Drums
Russell Holzman - Drums
Theo Travis - Sax, ambient flutes
Niko Tsonev - Guitar solo on 'A Beautiful Infinity I'
Andy Partridge - Voices
Rotem Wilson - Voices




https://www.youtube.com/watch?v=OIXs9dJlVEc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album taki jak 'The Overview' mógł nagrać tylko Steven Wilson. Wydawnictwo jest bez wątpienia jednym z najbardziej unikatowych albumów 2025 roku.
Do odsłuchu zalecam słuchawki oraz otwarty umysł...



Trzeba przyznać, że Steven Wilson ma nosa do wyszukiwania intrygujących tematów, mających stanowić punkt wyjścia do tworzenia wraz z artystycznymi kompanami muzyczno-słowno-graficznych concept-albumów. Tym razem postanowił na swój sposób zinterpretować niezwykłe zjawisko „efektu oglądu”, czy też „kosmicznej euforii”, a więc wyjątkowego mentalno-percepcyjnego stanu, jakiego doświadczają niektórzy astronauci, obserwując Ziemię z dużej odległości w czasie rzeczywistym. Trudno o bardziej podatny interpretacyjnie grunt dla muzyka tak świadomie przez lata inspirującego się space-rockiem i muzyką elektroniczną, i tak doświadczonego w kreowaniu specyficznymi środkami estetyki przywołującej kosmiczne skojarzenia. A gdyby jeszcze dodać, że podjęta tematyka została wpisana na „The Overview” w powracającą po latach, sprawdzoną progrockową formułę, to łatwo o wniosek, że Wilson tworząc materiał na nową płytę musiał czuć się jak ryba w wodzie. Czy sprzyjające okoliczności jednak wystarczyły, by stworzyć muzykę nie tylko atrakcyjną dziś, ale i będącą w stanie pozostać taką na dużo dłużej?

Album został rozpisany na dwie około dwudziestominutowe części. Pierwszej suicie, zatytułowanej „Objects Outlive Us”, bliżej do najbardziej klasycznych rozwiązań rocka progresywnego. Oparta na schematycznym dramaturgicznym wzorze, z obowiązkowymi typowo progrockowymi paralelizmami, tutaj polega tak na ogranych elementach, jak i składowych mających wyraźniejszy wpływ na charakter całości. Mamy więc tradycyjne „fabularne” opowieści wokalne (co ciekawe, jedna z nich obdarzona jest tekstem Andy’ego Partridge’a z XTC), mamy również dość wyświechtane partie instrumentalne na zasadzie basowo-gitarowych riffów czy tradycyjne już dla „progresywnego” Wilsona nawiązania do specyficznej melodyki Mahavishnu Orchestra. Tym, co jednak zwraca szczególnie uwagę i wpływa na niełatwy, nieoczywisty odbiór kompozycji, są monotonne, niemelodyjne, wielogłosowe, rwane melodeklamacje, przywołujące oczywiste skojarzenia z podobnymi akcentami obecnymi na „Tales From Topografic Oceans” Yes, czy nieco dalsze – z dokonaniami Philipa Glassa.

O ile pierwsza kompozycja jako całość sprawia wrażenie czegoś w rodzaju kosmicznego traktatu filozoficznego, o tyle tytułowa „The Overview”, to już penetracja kosmicznych przestworzy w pełnej krasie. Więcej tu elektroniki, mniej gitar, więcej przestrzeni i klimatu, mniej wirtuozerii. Astronautyczne reminiscencje „Astronomy Domine” wprowadzają w podszyty elektroniką traktat o rozmaitych galaktykach i ich parametrach, by po chwili otworzyć przestrzeń dla iście Gilmourowskiej ballady. W drugiej połowie utworu robi się ciekawiej: „Infinity Measured” to przebogaty aranżacyjnie fragment chyba najtrafniej oddający cechy owej „kosmicznej euforii”, natomiast następująca po nim koda płyty („Permanence”) to przestrzenna syntezatorowo-saksofonowa, ascetyczna wręcz, miniatura przywołująca klimaty ambientów Briana Eno czy Harolda Budda.

Steven Wilson, tak dobrze kojarzony z aranżacyjną, foniczną drobiazgowością, na całej płycie oferuje całą gamę niespodzianek, by wspomnieć choćby jedynie charakterystyczne rwane szarpnięcia strun telecastera przewijające się przez całe „Objects Outlive Us” czy obecne na całym albumie moduły wydobywane z syntezatora ARP 2600. Jak zwykle, starannie dobrał też instrumentalistów ucieleśniających jego bogate wizje – szczególne wspomnienie należy się tu Russellowi Holzmanowi (synowi klawiszowca Adama Holzmana), który jako trzydziestoletni muzyk, będący dotąd przede wszystkim perkusyjną postacią social-medialną, wyczynia rytmiczne cuda w pierwszej suicie.

Litania pochwał formy, którą przyjął i wypełnił Wilson na nowej płycie, jej interesujących składowych, tak konstrukcyjnych, jak i pełniących funkcję instrumentalnych środków wyrazu, mogłaby trwać w najlepsze, choć ostatecznie łatwo w obliczu tego bogactwa o dość gorzką refleksję. Czy aby artysta nie zapędził się do punktu, w którym zaczyna w pewnym sensie uprawiać już sztukę dla sztuki? Muzykę brzmiącą wspaniale, intrygującą środkami, ale być może nie dość mocno grającą na emocjach. Już w przypadku poprzedniej płyty „The Harmony Codex” wyrażałem obawy, czy audiotechniczne ambicje i niezaprzeczalne zdolności Wilsona nie wezmą góry nad muzyką samą w sobie – i tu owa wizja wydaje się spełniać jeszcze bardziej. O ile bowiem „The Overview” bez zastanowienia można określić mianem progresywnej audiofilskiej kosmicznej podróży, o tyle obawiam się, że podróż ta, wśród zapierających dech międzygwiezdnych ekspozycji, może kończyć się wrażeniem pewnej pustki.

Trochę brakuje mi pewnego punktu zaczepienia na tym albumie, akcentu, który pomógłby tej muzyce bronić się po dłuższym czasie. Brakuje jakiejś magicznej iskry, świetnej uzależniającej melodii, porywającej piosenki. Pewnej specyficznej głębi, która w przeszłości sprawiała, że swoimi pomysłami Wilson kupował moją uwagę i estymę niezwykle łatwo, wręcz instynktownie. „The Overview”, choć jest kolejnym godnym pochwał dowodem na artystyczną bezkompromisowość Stevena Wilsona, to jednak może razić brakiem pewnej kosmicznej siły, o której artysta zdaje się pomału zapominać.

Przemysław Stochmal



..::TRACK-LIST::..

1. OBJECTS OUTLIVE US (23.17)
- No Monkey’s Paw
- The Buddha Of The Modern Age
- Objects: Meanwhile
- The Cicerones
- Ark
- Cosmic Sons Of Toil
- No Ghost On The Moor
- Heat Death Of The Universe

2. THE OVERVIEW (18.27)
- Perspective
- A Beautiful Infinity I
- Borrowed Atoms
- A Beautiful Infinity II
- Infinity Measured In Moments
- Permanence



..::OBSADA::..

Steven Wilson - Vocals, guitars, keyboards, sampler, bass, percussion, programming, strings, piano
Adam Holzman - Keyboards, mellotron, Hammond organ, piano, modular synth, Rhodes piano
Randy McStine - Guitars, sound design, FX, backing vocals, harmony vocals
Craig Blundell - Drums
Russell Holzman - Drums
Theo Travis - Sax, ambient flutes
Niko Tsonev - Guitar solo on 'A Beautiful Infinity I'
Andy Partridge - Voices
Rotem Wilson - Voices




https://www.youtube.com/watch?v=OIXs9dJlVEc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Dziwny zespół to całe Pain of Salvation. Niby wtłoczeni w progmetalową szufladkę. Prawie, jak progmetal, ale jak wiadomo…Nie, stop! Wróć!

Ciężko jest przeciętnemu człowiekowi i konsumentowi płyt zrozumieć Daniela Gildenlöwa (zwanego pieszczotliwie Boskim). Szaleniec czy poeta? Filozof czy grafoman? Muzyk czy performer i aktor? Geniusz czy szarlatan? Pytania bez rozstrzygnięcia i wiążącej odpowiedzi. Co osoba, to inna interpretacja. Stąd też chyba cała twórczość Boskiego jest rozumiana rozmaicie. I chyba dobrze. Podoba mi się ta polaryzacja poglądów. Od podejścia „niemalże na klęczkach”, poprzez zainteresowanie i docenienie, aż po totalne zniesmaczenie i niezrozumienie. Fajnie...
Album BE z 2004 roku – podzielił fanów zespołu, jak i pozostałych zwolenników tzw. rocka progresywnego. A to wylewano wiadro pomyj, a to wzdychano pod niebiosa. Pisząca te słowa po kilku latach dojrzała do odczytania BE na nowo. Przedarłam się przez przypisy, odnośniki, komentarze Boskiego (sporo tego): filozofia, nauki przyrodnicze, literatura, malarstwo, symbolika, ikonografia i Da Vinci Code. Cóż...mam skłonność do oczytanych, przystojnych chłopaków po 30-tce. Mrrr....

W 2005 roku wytwórnia InsideOut dała zespołowi zielone światło na wydanie, co by tu nie powiedzieć kolejnej z fanaberii Boskiego – koncertu na DVD. I nie byłoby w tym nic dziwnego (przecież każdy szanujący się zespół wydaje DVD), gdyby nie fakt, że ta oryginalna produkcja sceniczna po prostu przebija produkty konkurencji.

Miejsce akcji: Eskilstuna (Lokomotivet)
Wykonawcy: Pain Of Salvation & Orchestra of Eternity
Publiczność: gimnazjaliści + nauczyciele. Tak, mili Państwo – materiał zarejestrowany na potrzeby DVD został nagrany w obecności uczniów szkół z Eskilstuny. Ciekawostka, prawda? Materiał z BE grany był dwa razy w ciągu wieczora, przez 7 dni. Dwa ostatnie koncerty zostały zarejestrowane.

To bardzo teatralne szoł z ciekawym montażem, momentami w slow motion, efektami, filmami, przebierankami, symboliką koloru. Daniel kilkukrotnie zmienia odzież wierzchnią: a to pojawia się ubrany w długą, białą powłóczystą szatę, stylowy garnitur, skórzany płaszcz etc. Reszta zespołu i rzecz jasna orkiestra również się dostosowali. Makijaże i stroje miały symbolizować 4 żywioły: wodę, powietrze, ogień, ziemię.* Co do wartości estetycznej strojów i makijażu, cóż de gustibus...Ciekawie została również zaaranżowana przestrzeń sceny (basen z wodą, do którego co jakiś czas wstępował Daniel) oraz światła (w przeważającej ilości niebieskie – podkreślające mistyczność wydarzenia).

Od pierwszych słów:
I Am...
I Am...
I Am...
do ostatnich:
You might hear the only answer:
BE!
BE!
BE!
siedziałam urzeczona i co by tu powiedzieć zafascynowana.

Wracając do materiału muzycznego. Zmiany w stosunku do studyjnej wersji BE – niewielkie, ale zawsze. Sceniczna prezentacja materiału z BE jest nieco krótsza w porównaniu z wersją studyjną. Brzmi to wszystko znakomicie, bardzo dobrze. Cały zespół gra bez zarzutu. Wiele ciepłych słów można powiedzieć także o członkach Orchestra of Eternity. Jakaś niesamowita symbioza panuje miedzy muzykami POS a orkiestrą. Materiał piekielnie trudny i skomplikowany zagrany został przez OoE porywająco. Należy zwrócić jeszcze uwagę, że muzykom obydwu formacji nie towarzyszy dyrygent, a w takim przypadku „ryzyko wpadki” jest spore. Orkiestracje są moim zdaniem lepsze, niż na studyjnej wersji dzieła i to właśnie dzięki nim, niektóre utwory zabrzmiały znacznie lepiej niż w oryginale. Pluvius Aestivus w koncertowej wersji jest tak subtelny i piękny, że aż ciarki przechodzą. Fredrik Hermansson to znakomity pianista i kompozytor. Podobnie jak Lilium Cruentus z cudowną partią graną na oboju. A opus magnum dzieła są zdecydowanie Iter Impius (cudowne solo na wiolonczeli - łzy w oczach) i Martius/Nauticus II – które zagrane zostały w sposób mistrzowski. Czapki z głów. Co może dziwić, wg mnie Dea Pecuniae wypadła nieco bezbarwnie w tym zestawieniu. Za to Diffidentia – znakomicie. Zresztą, jak to w przypadku concept albumów bywa – należy ich słuchać w całości. Skojarzenia? Na pewno z The Song Remains The Same Led Zeppelin. Podobny ładunek emocji i pomysł . Znakomicie się to ogląda i szkoda, że koncert trwa tylko godzinę. Ale zawsze można wrócić do koncertu i obejrzeć następny raz. I kolejny. I raz jeszcze....

Muzycznie i koncepcyjnie: majstersztyk. Można Boskiego lubić bądź nie, ale moim zdaniem z tą nietypową sceniczną produkcją powinien zapoznać się każdy, nawet ten, kto PoS notorycznie nie cierpi i nie lubi fanów zespołu (a znamy kilku, prawda?)

Zasadnicza część DVD za nami. Pozostały jeszcze dodatki. Uff – sporo tego. Znakomite fotografie zespołu autorstwa Larsa Ardarve.Mamy jeszcze dodatkowo komentarz odautorski (Daniel & Johan Hallgren), zabawny wątek poszukiwania treści satanistycznych w BE (Religious Fanatic Track), filmiki, ukryte menu, automatyczną sekretarkę pana boga i co tam chcecie.

Ale to jeszcze nie koniec. Dodatkowo do dysku DVD dołożona została wersja CD z prezentowanym materiałem. Kto nie lubi oglądać obrazków, zawsze może posłuchać.

Znakomite wydawnictwo: słownie dziewiątka.

* Spośród czterech żywiołów ogień i powietrze to aktywne zasady męskie, a ziemia i woda to pasywne zasady żeńskie. Z czterema żywiołami kojarzone są cztery fazy życia człowieka: dzieciństwo, młodość, wiek dojrzały, starość.

PS. Jeśli ktoś będzie urażony recenzją cóż , trudno.

Lothien



Depicting the existence and substance of God and His creations and interpreting it in musical lyrics and notes must be extremely difficult for even gifted musicians. Hence, describing the existence and substance of God and His creations in a cohesive 75 minute musical drama, especially in the progressive rock corridor, appears to be a "mission impossible". Against all odds, Daniel Gildenlöw, the lyricist, chief composer, guitarist, and lead vocalist of Pain of Salvation (PoS), a Swedish progressive metal band, was able to do it brilliantly and elegantly in 2004!

Thanks to Gatot "Top Markotop" Widayanto, who has been kind in re-lending me his PoS BE DVD and patiently encouraged me to review my thought after I returning his DVD back to him for the first time, I am finally able to appreciate the album. For me, the PoS BE (the band's fifth) album is probably one of the most complicated art works to be decrypted. Such difficult, that I need to download a sizeable information from the internet on the album before hearing it for the second time. This is because the strength and uniqueness of the PoS BE album does not lie on its musical notes and beats, but it is on its musical lyrics, story plot, and concept. Hence, it is imperative that you understand the background of characters displayed in the drama, read the lyrics contained in the DVD booklet during the play, and watch it in a proper DVD Dolby Surround 4:1 mode. I am afraid that you won't be able to fully extract Mr. Gildenlöw's message by playing his brilliant and complicated work in the CD 2-channel system mode.

There are five characters, appearing and disappearing in this musical drama. The first is called Animae, representing the God. The second is Imago, which is the image of humanity in its most natural form. The third is Mr. Money, the dark side of Imago who like to be immortal. The fourth is Dea Pecuniae, the feminine version of Mr. Money and the Eve of humanity's dark side. Finally, Nauticus, the most intelligent creature ever created by Animae, which are drifting and hovering in the space and searching for answers to save Earth. In my interpretation, I also see Nauticus as the most powerful substance of the dark side of Imago, regretting and wanting to rectify his mistakes.

The album is opened up by 1:48" sub 500Hz beat, gradually rising in tempo, depicting the birth of Animae, called Animae Partus. God, in Daniel's definition, must have heart beats and, therefore, he displays these sounds as his prologue. "Who I am? In the back of my awareness I find words: I will call myself. God", narrated Mr. Gildenlöw's. Then, having had an orchestra introduction, you'll hear somewhat mellow metal riffs, called Deus Nova. In this 3:18" piece, Daniel depicts a situation where the world created by Animae has been becoming bigger (he narrates a rising number of population, in-line with the function of time), but it has also been becoming vulnerable.

Using a beautiful combination of mandolin, flute, and piano as an introduction, Mr. Gildenlöw takes us to the next 5:11" piece, titled Imago, describing how Animae teaches Imago the beauty of his creations (presumably in the Heaven). "Teach me of the forest, teach me of the sea, teach me anything as long as you teach me.", Imago begs to Animae. Johan Langell's percussion at the back induces a somewhat Middle East color into the composition. It is followed by Fredrik Hermansson's 5:00" beautifully crafted classical piano, combined with violin and viola, in Pluvius Aestivus. In this mellow instrumental composition, it appears to me that Daniel attempts to depict how satisfy Animae is following the creation of Imago. Note that rather than relying on Kristoffer Gildenlöw's electric bass, Daniel relies on cello to create softer, but clear beats.

The slow rock melody guitar opens up the 5:28" piece, called Lilium Cruentus, describing how Imago losses his innocence and struggles to recover his strength. Imago's confusion on his life is depicted by metal beats and riffs in this section. "They tell me you are better off where you are now, I don't care.", the evil presumably whispers to Imago. "I need something to blame for this pain.", Imago attempts to find a scapegoat for all suffers he experienced in this current life.

Suddenly, your TV screen turns into black and you'll only see a candle and its light. An eerie sound humming: "Oh Lord, Oh Lord, won't you hear a sinner prayer.", while a mellow melody guitar played at the back Imago is obviously asking Animae whether he could be forgiven for his sins in the 4:58" Nauticus. Lars Lundin and Alfred Magnusson's diagonal recording technique (portraying the hum on the front right and back left speakers at the same time and vice versa) further dramatizes the ambiance. The candle light almost turns off at the end of the piece when the eerie narration saying "Save me, I'm drifting. Help me, I'm drifting", symbolizing Imago's diminishing hope.

As Animae doesn't answer Imago's call, it appears to me that he becomes disappointed and broken. Putting forward his angers by unveiling his dark side is essentially Mr. Gildenlöw's message in the next somewhat blues 10:09" composition, called Dea Pecuniae. As I mentioned in the beginning, Imago's dark side is reflected by two characters-Mr. Money and Dea Pecuniae. Materialism and desire on power are some of Imago's dark sides. "If you are looking for fulfillment, a Kingdom and a Crown, a Paradise of Free rides, I am here to let you down." teased Dea Pecuniae to Mr. Money.

The next 4:15" section, called Vocari Dei or Messages to God is the album's trademark. Here, Daniel sets up a phone line for fans from around the world to ring and leave their messages to God. These messages were collated and presented with a peaceful instrumental accompaniment, resulting in what I think the most touching track in the album. "God, if you love us, why we are subject to an increasing injustice through out the world. Do you show your love by tormenting us? It doesn't make any sense", said one of desperate fans, similar to Imago's sober feeling.

Accentuating by the Vocardi Dei fragment, Animae finally takes Imago's call. Starting with staccato and heavy rock riffs, Mr. Gildenlöw depicts a somewhat unfriendly exchange of words between Animae and Imago in his 7:25" Diffenditia piece. "God, you know, you created a golden cage for your sheep, a stage too wide and deep for us to even see the play.", said Imago. "Man is shattered, I am shattered. My shards have become shards of their own, pieces of pieces, impossible to put back together, they leave me, they do nothing more than spending their lives seeking a context they were already part of, until there is no alternative", Animae complains.

Believing that his creation will never gained back his innocence, Animae regrets and curses himself in the 6:21" and 2:27" grief turned into metal rock composition, named Nihil Mohari and Latericius Valete, respectively. "Nothing will ever change, touch me, heal me. Mankind remains the same. Forests, oceans, bleeding. Nothing will ever change.", Animae cries.

Meanwhile, broken and angry Imago, who lost the guidance, is looking for another more powerful and higher substance as his new master. Setting on the back of classical and church music background, Imago turns to Nauticus, who is actually his most powerful dark side, in the 2:37" Omni section. "We all need something to believe in. I see us in you Nauticus. Will you go, travel on, serving our fragile race? Will you come back to us with the meaning of life?" said Imago to Nauticus. On your TV screen, you could watch Daniel pulls off his jacket, washes it in a small pond in front of the stage, and wears his wet jacket, symbolizing that Imago has cleaned its past and found a new master. What a great stage act!!!

Using a rock opera music as an entry, Mr. Gildenlöw describes how Imago's dark side runs amok without control in the 6:21" Iter Impius. Here, Mr. Money (one of two Imago dark sides) says: "I woke up today expecting to find all that I sought, and climb the mountain of the life I bought. Finally, I'm at the top of every hierarchy, unfortunately there is no one left.but me. I'm on my own, I am all alone, I am on my own. I'm stuck forever here. Already cold, so cold. I rule the ruins". Imago has been becoming so powerful and successful, but yet he feels alone and empty.

The emptiness felt by Imago is further emphasized by the 6:41" Maritus/Nauticus II. Opened up by slow tempo and gradually rising, Nauticus declares: "I'm at the line, I see it all. I am Nauticus and I'm so much more. I am everything". Imago's dark side has possessed everything-"I am every forest, I am every tree, I am every ocean, I am every sea". He becomes so powerful and even promotes himself to be the new Animae by saying: "And if you listen closely you might hear whisperings in the silence of darkness, beautiful, yet distinguishable and beautifully clear. You might hear the only answer "BE", "BE", "BE". The piece is ended by Daniel's solo percussion, a great way to end this beautiful and complex art work!

Before ending my review on the album, let me quote Mr. Gildenlöw's answer when he was asked about God (please see http://www.alternative-zine.com/interviews/en/41 ): "I always had a very complicated relationship to the concept of God, because, I mean, God is constantly present in this world weather you believe in him or her or not, you will be aware of the existence and the concept of God in human existence, I've never been able to believe in any of the Gods as presented in any human religion so far, I've always hoped for God, I always wished for God but I never manage to believe and have full faith in the concept of God, especially after working with this concept, I have come and more to the conclusion that the question weather there is a God or not does not apply to our fractal system and is like when this two dimensional guys are looking at the cylinder asking themselves if there's a round shape or a square shape and there is no answer, because you cannot ask that question, because it's beyond our fractal".

Enjoy this piece of beautiful and complex art work with open mind and you will appreciate how genius Daniel Gildenlöw is.

Best regards, Rizal B. Prasetijo



..::TRACK-LIST::..

Prologue
1. Animae Partus ("I Am") 1:48

I. Animae Partus - All In The Image Of
2. Deus Nova 3:18
3. Imago (Homines Partus) 5:11
Arranged By [Orchestral Arrangements] - Jan Levander
4. Pluvius Aestivus - Of Summer Rain (Homines Fabula Initium) 5:00

II. Machinassiah - Of Gods & Slaves
5. Lilium Cruentus (Deus Nova) - On The Loss Of Innocence 5:28
6. Nauticus (Drifting) 4:58

Dea Pecuniae [10:09]
7a. I Mr. Money
Vocals [Dea Pecuniae] - Cecilia Ringkvist
7b. II Permanere
Vocals [Dea Pecuniae] - Cecilia Ringkvist
7c. III I Raise My Glass
Vocals [Dea Pecuniae] - Cecilia Ringkvist

III. Machinageddon Nemo Idoneus Aderat Qui Responderet
8. Vocari Dei - Sordes Aestas - Mess Age 3:50
9. Diffidentia (Breaching The Core) - Exitus - Drifting II 7:36
10. Nihil Morari - (Homines Fabula Finis) 6:21

IV. Machinauticus - Of The Ones With No Hope
11. Latericus Valete 2:27
12. Omni - Permanere? 2:37
13. Iter Impius - Martius, Son Of Mars - Obitus Diotinus 6:21
Written-By [Music], Arranged By [Orchestral Arrangements] - Fredrik Hermansson
14. Martius/Nauticus II 6:41

Deus Nova Mobile - ... And A God Is Born
15. Animae Partus II 4:08



..::OBSADA::..

Daniel Gildenlöw - Vocals, choirs, voices, harmony vocals; electric and acoustic guitar; mandola; Chinese archo; keyboards; percussion on toms, rototoms, mandola (body), eggs, floors, broken cymbals and what-have-you; samplers and programming.
Fredrik Hermansson - Grand piano, harpsichord and keyboards; percussion on large toms;
Johan Hallgren - Electric and acoustic guitars; harmony vocals; percussion on congas.
Johan Langell - drums; backing vocals; percussion on djembe and cowbell.
Kristoffer Gildenlöw - Bass and Fretless bass; double bass; harmony vocals; percussion on congas.


The Orchestra of Eternity:
Mihai Cucu - 1st violin
Camilla Arvidsson - 2nd violin
Kristina Ekman - viola
Magnus Lanning - cello
Åsa Karlberg - flute
Anette Kumlin - oboe
Nils-Åke Pettersson - clarinet
Dries van den Poel - bass clarinet
Sven-Olof Juvas - tuba

Guest Musicians:
Mats Stenlund - church organ
Cecilia Ringkvist - vocals

Other:
Donald Morgan - narration
Donald K. Morgan - narration
Alex R. Morgan - narration
Kim Howatt - news reading, Cindy (Sandra!)
Jim Howatt - news reading
Jackie Crotinger - news reading
Ross Crotinger - news reading
Tom Kleich - Mr. Money on radio
Blair Wilson - interviewer on radio, Miss Mediocrety
Gaby Howatt - Miss Mediocrety
Molly Fahey - "There's room for all God's creatures..."
Various people from around the world - voice messages to God




https://www.youtube.com/watch?v=mBaqZDrJmY4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



DVD 5
NTSC
4:3
DD 2.0



..::TRACK-LIST::..

1. Lesson Well Learned
2. March Of The Saint
3. Can U Deliver
4. Aftermath
5. Raising Fear
6. Nervous Man
7. Human Vulture
8. Chemical Euphoria
9. Stricken By Fate
10. Book Of Blood
11. Long Before I Die

Bonus Videos:
12. Reign Of Fire
13. Last Train Home
14. Feel Me Tonight
15. Feel Me Tonight
16. Isolation
17. Madhouse
18. You're Never Alone



..::OBSADA::..

John Bush - Vocals
Gonzo Sandoval - Drums
Phil Sandoval - Guitars
Jeff Duncan - Guitars
Joey Vera - Bass
Dave Prichard (R.I.P. 1990) - Guitars




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As Vehemence galvanized through a touring cycle supporting the first Metal Blade Records released album, "God Was Created", the band took musical ideas that pushed the band dynamic further forward and streamlined the songwriting process to generate the next collection of songs: "Helping The World To See".

The band pushed ahead with steadfast determination to create songs that captured the melodic and brutal soundscapes that were presented in the previous material, while diversifying the lyrics to encapsulate individual topics. Source material for the imagery presented in these songs were the headlines of the era. Terrorist attacks, infanticide, depression and insanity, televangelism, and other atrocities became the real life horror presented in the realities that Vehemence was "helping the world to see".

Each song highlights the individual strengths of each band member, and showcase a group of individuals that truly joined together in harmony when performing together.

The artwork for the album was another highlight, as the band were able to enlist the service of Wes Benscoter. His concept for the art was pulled directly from the album title and presents a bold image to represent the sound contained within.
- Nathan / Vocals
Vehemence

Banished to Infinity, originally written in 1995 while Nathan, Scott and I were still in high school is the first Vehemence song ever written and demo’d. The Death of Me was written shortly after in 1996. In 1997 we joined with Mark and Andy to complete the Vehemence line-up. Crusade of Hypocrisy was written in 1997. We eventually scrapped the song, and used a section of it in our song ‘Nameless Faces, Scattered Remnants” off our album The Thoughts From Which I Hide. Her Beautiful Eyes has been around since the demo days but for whatever reason, we didn't include it on an album until Helping The World To See.

Bjorn - Guitar Vehemence



It's hard to approach "Helping the World to See" without immediately thinking of it as a lesser work to "God Was Created." Which it is. But to be fair, I think "God Was Created" is more important to me than most of my loved ones, so I'm not going to hold that against its followup. But more to the point, it was kind of a tricky thing to follow for anyone: a big, ambitious concept album on Metal Blade widely acclaimed both critically and popularly. Frankly, I was pretty disappointed when I heard it after being so firmly acquainted with "God Was Created". It didn't just feel like a step down; it felt lazy coming from the sort of band who made "God Was Created," so straightforward and unambitious that it seemed sort of embarrassing, like it somehow besmirched their legacy.

After growing the fuck up and becoming like twenty percent (I'm feeling charitable) of a grown-up, I've come to realize that it's a perfectly acceptable and even desirable followup to "God Was Created." Yes, it's a lesser work, but it's the sort of restrained, deliberate step down that shows a band actually aware of their abilities and strengths. Attempting a bigger, badder "God Was Created" would have failed miserably. It's not like everyone didn't know that that album was untouchable; there was zero chance that they'd be able to follow it up, and any attempt to do so would probably have fallen flat on its face. In the same way Fear Factory openly says that "Demanufacture" is never going to happen again and will now and forever be their greatest work, Vehemence basically says that with "Helping the World to See." Instead of attempting to outdo themselves with another massive, conceptual release, Vehemence exhibits some restraint here, instead choosing to treat each track as its own little universe and mastering each on its own terms. Instead of creating a great, very complete album like "God Was Created," the band decided to make a collection of individually great songs. Is it as artistically masterful as the album before? No, of course not, but it's an absolutely excellent and wonderfully realized set of tracks in its own right.

Vehemence's greatest strength has always been in their perfect application of pop/rock songwriting principles to a core of otherwise unmutated death metal; more than ever before, "Helping the World to See" emphasizes these pop elements in pursuit of a tighter, more modular sort of album. The opening and closing tracks, "By Your Bedside" and "We Are All Dying" respectively ("Her Beautiful Eyes" is just a bonus track,) are the most overtly mainstream pieces that the band has ever put together. A substantial influence from US melodeath/metalcore can be detected on these and other tracks; perhaps self-referential, since it could be argued that Vehemence themselves helped distinguish and perpetuate many of the tropes in such a style of music. The result of this sharper appreciation for the most mainstream parts of metal are simpler, more streamlined songs, which sharpen Vehemence's already pointedly riff-based structures into razorlike configurations seemingly designed for Youtube covers from every seveteen year old with an ESP on the planet. "We Are All Dying" in particular toes a very fine line between a sort of perfection of the melodeath form and utterly ludicrous excess- those riffs are more Gothenburg than Gothenburg has ever been, but just barely manage to function with the rougher, more abrasive textures of the rest of the instruments.

This is the other, and I would say slightly flawed, aspect of the album: a more brutish and seemingly defensive death metal presence which is at very distinct odds with the bulk of the highly melodic material. Tracks like "To the Taste" and "Darkness is Comfort" show a much more ostentatiously aggressive side to the band, subtracting much of the most overtly melodic riffing and emotive vocals in favor of a more traditional death metal sound. I can't help but think it sounds a bit guilty; it's as though Vehemence are apologizing for "God Was Created" (or maybe just some of the more effete items found elsewhere on this album) by trying to show off their credentials as a more "serious" death metal band. I can't help but think this is a pretty silly, unnecessary maneuver, since anyone with functioning ears can tell that one of Vehemence's greatest strengths has been their ability to craft such accessible, melodic, emotional music while not sacrificing any of the natural brutality of its execution. While Vehemence can stray into some staggeringly relaxed territory at times, it never really overwhelms the raw intensity of their natural style.

Where this album succeeds most is when it sort of caricaturizes the band's most immediate and severe elements: the aforementioned opening and closing, "Kill For God" and its total modern rock influences, or mostly-instrumental ballad track "Alone In Your Presence." While some of the songs on this album can feel like tracks written for "God Was Created" but abandoned for their excess and self-indulgence (if it can even be imagined considering what that album sounded like,) the fiercely pointed and concise nature of the music on this record definitely has its charms. The fact that the band is stylistically identical to the record before definitely helps: the intensely poppy, wonderfully arranged melodies, tight, restrained, and musical percussion, and emotive, memorable high/low vocals are all just as strong as they ever were. About my only complaint is that the production quality didn't change either; somewhat dry and claustrophobic, the guitar tone and vocal recording don't give the sort of breadth and richness I think the music deserves.

It's hard to compare "Helping the World to See" to "God Was Created" (though I've certainly done it enough) considering what seems to be antonymic artistic goals. It certainly doesn't feel very good to say that appreciating this album might rely on lowered expectations. Still, I'd like to suggest that it's more a matter of being realistic than jaded. Were it not for the existence of its predecessor, "Helping the World to See" would probably itself be near or at the top of the melodeath pile; it's only the album's older brother which knocks it down a peg. It's still better than just about anything else.

Noktorn



..::TRACK-LIST::..

1. By Your Bedside 03:51
2. Kill for God 03:44
3. Trinity Broadcasting (Know Your Enemy) 06:32
4. To the Taste 02:33
5. You Don't Have to Be Afraid Anymore 05:50
6. Alone in Your Presence 03:56
7. Spirit of the Soldier 05:27
8. Darkness Is Comfort 03:37
9. What Could Go Wrong? 06:09
10. We Are All Dying 03:00

Bonus Tracks:
11. The Death of Me (’97)
12. Banished to Infinity (’97)
13. Crusade of Hypocrisy (’97)
14. Her Beautiful Eyes (’98)



..::OBSADA::..

Mark Kozuback - Bass, Vocals (additional), Songwriting (track 4)
John Chavez - Guitars (lead) (track 3), Samples, Songwriting (tracks 7, 9), Guitars (rhythm)
Nathan Gearhart - Vocals, Lyrics
Bjorn Dannov - Guitars (1-3, 5-6, 8, 10-11), Songwriting (tracks 1-3, 5-6, 8, 10-11)
Andy Schroeder - Drums




https://www.youtube.com/watch?v=V3DsjvaxYqc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As Vehemence galvanized through a touring cycle supporting the first Metal Blade Records released album, "God Was Created", the band took musical ideas that pushed the band dynamic further forward and streamlined the songwriting process to generate the next collection of songs: "Helping The World To See".

The band pushed ahead with steadfast determination to create songs that captured the melodic and brutal soundscapes that were presented in the previous material, while diversifying the lyrics to encapsulate individual topics. Source material for the imagery presented in these songs were the headlines of the era. Terrorist attacks, infanticide, depression and insanity, televangelism, and other atrocities became the real life horror presented in the realities that Vehemence was "helping the world to see".

Each song highlights the individual strengths of each band member, and showcase a group of individuals that truly joined together in harmony when performing together.

The artwork for the album was another highlight, as the band were able to enlist the service of Wes Benscoter. His concept for the art was pulled directly from the album title and presents a bold image to represent the sound contained within.
- Nathan / Vocals
Vehemence

Banished to Infinity, originally written in 1995 while Nathan, Scott and I were still in high school is the first Vehemence song ever written and demo’d. The Death of Me was written shortly after in 1996. In 1997 we joined with Mark and Andy to complete the Vehemence line-up. Crusade of Hypocrisy was written in 1997. We eventually scrapped the song, and used a section of it in our song ‘Nameless Faces, Scattered Remnants” off our album The Thoughts From Which I Hide. Her Beautiful Eyes has been around since the demo days but for whatever reason, we didn't include it on an album until Helping The World To See.

Bjorn - Guitar Vehemence



It's hard to approach "Helping the World to See" without immediately thinking of it as a lesser work to "God Was Created." Which it is. But to be fair, I think "God Was Created" is more important to me than most of my loved ones, so I'm not going to hold that against its followup. But more to the point, it was kind of a tricky thing to follow for anyone: a big, ambitious concept album on Metal Blade widely acclaimed both critically and popularly. Frankly, I was pretty disappointed when I heard it after being so firmly acquainted with "God Was Created". It didn't just feel like a step down; it felt lazy coming from the sort of band who made "God Was Created," so straightforward and unambitious that it seemed sort of embarrassing, like it somehow besmirched their legacy.

After growing the fuck up and becoming like twenty percent (I'm feeling charitable) of a grown-up, I've come to realize that it's a perfectly acceptable and even desirable followup to "God Was Created." Yes, it's a lesser work, but it's the sort of restrained, deliberate step down that shows a band actually aware of their abilities and strengths. Attempting a bigger, badder "God Was Created" would have failed miserably. It's not like everyone didn't know that that album was untouchable; there was zero chance that they'd be able to follow it up, and any attempt to do so would probably have fallen flat on its face. In the same way Fear Factory openly says that "Demanufacture" is never going to happen again and will now and forever be their greatest work, Vehemence basically says that with "Helping the World to See." Instead of attempting to outdo themselves with another massive, conceptual release, Vehemence exhibits some restraint here, instead choosing to treat each track as its own little universe and mastering each on its own terms. Instead of creating a great, very complete album like "God Was Created," the band decided to make a collection of individually great songs. Is it as artistically masterful as the album before? No, of course not, but it's an absolutely excellent and wonderfully realized set of tracks in its own right.

Vehemence's greatest strength has always been in their perfect application of pop/rock songwriting principles to a core of otherwise unmutated death metal; more than ever before, "Helping the World to See" emphasizes these pop elements in pursuit of a tighter, more modular sort of album. The opening and closing tracks, "By Your Bedside" and "We Are All Dying" respectively ("Her Beautiful Eyes" is just a bonus track,) are the most overtly mainstream pieces that the band has ever put together. A substantial influence from US melodeath/metalcore can be detected on these and other tracks; perhaps self-referential, since it could be argued that Vehemence themselves helped distinguish and perpetuate many of the tropes in such a style of music. The result of this sharper appreciation for the most mainstream parts of metal are simpler, more streamlined songs, which sharpen Vehemence's already pointedly riff-based structures into razorlike configurations seemingly designed for Youtube covers from every seveteen year old with an ESP on the planet. "We Are All Dying" in particular toes a very fine line between a sort of perfection of the melodeath form and utterly ludicrous excess- those riffs are more Gothenburg than Gothenburg has ever been, but just barely manage to function with the rougher, more abrasive textures of the rest of the instruments.

This is the other, and I would say slightly flawed, aspect of the album: a more brutish and seemingly defensive death metal presence which is at very distinct odds with the bulk of the highly melodic material. Tracks like "To the Taste" and "Darkness is Comfort" show a much more ostentatiously aggressive side to the band, subtracting much of the most overtly melodic riffing and emotive vocals in favor of a more traditional death metal sound. I can't help but think it sounds a bit guilty; it's as though Vehemence are apologizing for "God Was Created" (or maybe just some of the more effete items found elsewhere on this album) by trying to show off their credentials as a more "serious" death metal band. I can't help but think this is a pretty silly, unnecessary maneuver, since anyone with functioning ears can tell that one of Vehemence's greatest strengths has been their ability to craft such accessible, melodic, emotional music while not sacrificing any of the natural brutality of its execution. While Vehemence can stray into some staggeringly relaxed territory at times, it never really overwhelms the raw intensity of their natural style.

Where this album succeeds most is when it sort of caricaturizes the band's most immediate and severe elements: the aforementioned opening and closing, "Kill For God" and its total modern rock influences, or mostly-instrumental ballad track "Alone In Your Presence." While some of the songs on this album can feel like tracks written for "God Was Created" but abandoned for their excess and self-indulgence (if it can even be imagined considering what that album sounded like,) the fiercely pointed and concise nature of the music on this record definitely has its charms. The fact that the band is stylistically identical to the record before definitely helps: the intensely poppy, wonderfully arranged melodies, tight, restrained, and musical percussion, and emotive, memorable high/low vocals are all just as strong as they ever were. About my only complaint is that the production quality didn't change either; somewhat dry and claustrophobic, the guitar tone and vocal recording don't give the sort of breadth and richness I think the music deserves.

It's hard to compare "Helping the World to See" to "God Was Created" (though I've certainly done it enough) considering what seems to be antonymic artistic goals. It certainly doesn't feel very good to say that appreciating this album might rely on lowered expectations. Still, I'd like to suggest that it's more a matter of being realistic than jaded. Were it not for the existence of its predecessor, "Helping the World to See" would probably itself be near or at the top of the melodeath pile; it's only the album's older brother which knocks it down a peg. It's still better than just about anything else.

Noktorn



..::TRACK-LIST::..

1. By Your Bedside 03:51
2. Kill for God 03:44
3. Trinity Broadcasting (Know Your Enemy) 06:32
4. To the Taste 02:33
5. You Don't Have to Be Afraid Anymore 05:50
6. Alone in Your Presence 03:56
7. Spirit of the Soldier 05:27
8. Darkness Is Comfort 03:37
9. What Could Go Wrong? 06:09
10. We Are All Dying 03:00

Bonus Tracks:
11. The Death of Me (’97)
12. Banished to Infinity (’97)
13. Crusade of Hypocrisy (’97)
14. Her Beautiful Eyes (’98)



..::OBSADA::..

Mark Kozuback - Bass, Vocals (additional), Songwriting (track 4)
John Chavez - Guitars (lead) (track 3), Samples, Songwriting (tracks 7, 9), Guitars (rhythm)
Nathan Gearhart - Vocals, Lyrics
Bjorn Dannov - Guitars (1-3, 5-6, 8, 10-11), Songwriting (tracks 1-3, 5-6, 8, 10-11)
Andy Schroeder - Drums




https://www.youtube.com/watch?v=V3DsjvaxYqc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brazilian death metallers Escarnium conjure up some exceptionally gloomy and downcast death metal, depicting the world in sickening shades of gray. It's not exceedingly technical or dissonant -- their slowly unfurling riffs just tap into a subconscious well of unease that serves as the perfect setting for their similarly miserable subject matter, making sinking into this swamp easy.
- Invisible Oranges

Dysthymia is a murky, hefty slab of death metal that tackles two topics: mental illness and the horrors of the modern world.
- Decibel Magazine

"That is what Escarnium have done here – delivered a top quality, straight forward death or blackened death metal record. Great stuff."
- Games, Brrraaains & A Head-Banging Life

"The band’s third album is tight—both in length and approach. These guys just click. The sinewy riffs. The caustic, bellowing vocals. The commandingly dexterous drums. And as tight as Escarnium’s sound is, there’s an organic and almost instinctive feel to Dysthymia, as if they were merely channeling from some unknown energy source and not actually, you know, writing songs and playing their instruments."
- Last Rites



..::TRACK-LIST::..

1. Inglorious Demise 05:12
2. Far Beyond Primitive 04:32
3. Deluged in Miasma 05:43
4. Anguish Ad Nauseum 04:20
5. Dysthymia 05:19
6. Into the Grave (Grave Cover) 03:59



..::OBSADA::..

Victor Elian - Rhythm guitars, Vocals
Nestor Carrera - Drums
Alex Hahn - Lead guitars
Vitor Giovanni - Bass



https://www.youtube.com/watch?v=k5cum9vu18g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brazilian death metallers Escarnium conjure up some exceptionally gloomy and downcast death metal, depicting the world in sickening shades of gray. It's not exceedingly technical or dissonant -- their slowly unfurling riffs just tap into a subconscious well of unease that serves as the perfect setting for their similarly miserable subject matter, making sinking into this swamp easy.
- Invisible Oranges

Dysthymia is a murky, hefty slab of death metal that tackles two topics: mental illness and the horrors of the modern world.
- Decibel Magazine

"That is what Escarnium have done here – delivered a top quality, straight forward death or blackened death metal record. Great stuff."
- Games, Brrraaains & A Head-Banging Life

"The band’s third album is tight—both in length and approach. These guys just click. The sinewy riffs. The caustic, bellowing vocals. The commandingly dexterous drums. And as tight as Escarnium’s sound is, there’s an organic and almost instinctive feel to Dysthymia, as if they were merely channeling from some unknown energy source and not actually, you know, writing songs and playing their instruments."
- Last Rites



..::TRACK-LIST::..

1. Inglorious Demise 05:12
2. Far Beyond Primitive 04:32
3. Deluged in Miasma 05:43
4. Anguish Ad Nauseum 04:20
5. Dysthymia 05:19
6. Into the Grave (Grave Cover) 03:59



..::OBSADA::..

Victor Elian - Rhythm guitars, Vocals
Nestor Carrera - Drums
Alex Hahn - Lead guitars
Vitor Giovanni - Bass



https://www.youtube.com/watch?v=k5cum9vu18g


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

..::INFO::..

---------------------------------------------------------------------
Uriah Heep - The Best Of Uriah Heep (1972-1977)
---------------------------------------------------------------------

Artist...............: Uriah Heep
Album................: The Best Of Uriah Heep (1972-1977)
Genre................: Hard Rock
Source...............: CD
Year.................: 1992
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 59 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment

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

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

1. Uriah Heep - Free Me [03:35]
2. Uriah Heep - Lady In Black [04:48]
3. Uriah Heep - Stealin' [04:50]
4. Uriah Heep - Wizard [03:02]
5. Uriah Heep - Look At Yourself [05:10]
6. Uriah Heep - Gypsy [06:41]
7. Uriah Heep - Easy Livin' [02:37]
8. Uriah Heep - Return To Fantasy [05:49]
9. Uriah Heep - Your Turn To Remember [04:22]
10. Uriah Heep - Sweet Freedom [06:36]
11. Uriah Heep - Shady Lady [04:49]
12. Uriah Heep - Firefly [06:19]
13. Uriah Heep - Bird Of Prey [04:14]
14. Uriah Heep - Love Machine [03:38]

Playing Time.........: 01:06:36
Total Size...........: 396,49 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Legends of UK punk/metal SACRILEGE'S third album 'Turn Back Trilobite' including 12" with Demo and live sessions re-issued!



Sacrilege are an utterly essential act in UK metal history for three main reasons:

1) They were one of the first female-fronted outfits in metal history, probably second only to the Belgians Acid;
2) They were the first thrash metal band on UK soil alongside Onslaught;
3) They were the first modern doom metal practitioners in England, predating the doom metal hordes of the early-90’s.

A truly important entity that managed to carve their own individualistic sound from the get-go with this abrasive crust/punk/hardcore/thrash madness that was their debut. The sophomore continued consolidating their reputation as a less ordinary band the guys (and a girl) insisting on their hypnotic, monolithic mid-paced delivery without any unnecessary flourishes. Speed was out of the question, but one hardly needed it in this particular case as the band were the requisite antidote to the myriad fast-paced riffmongers with which the scene had started filling in.

The year is 1989, and Sacrilege’s third opus is a fact. What has changed on this trilobite, you may wonder? No change would have been perfect since the band had already established a fairly individualistic approach to the genre, with a loyal following… Well, there was no end to evolution, and here is the biggest surprise: this is a doom metal recording showing an obvious fascination with the works of the Swedish heroes Candlemass and Mercy, and of course the fathers of all things doom Black Sabbath. Not much left from their ultimately charming, unclean, rough dirgy thrash; the production has been polished down to the -D-, and “Father Time” is the officiant stomping opener with Lynda Simpson showing her more lyrical vocal side. More energetic gallops appear later to remind of the band’s past glories, but the dark doom-laden riffage remains unperturbed by those deviations. “Silent Dark” is doom at its most shining best, a hymn that would have been a highlight even on “Nightfall” (Candlemass), an enchanting symbiosis of melody and heaviness that relies on the gallop again for the more dynamic additive although later on more aggressive, nearly thrashy, rhythms make themselves heard. Not to worry as this is doom metal all the same with a more brutal engine akin to Candlemass’ “Ancient Dreams”.

“Soul Search” begins in a most alluring balladic manner with gorgeous melodic leads Simpson sounding more romantic and benevolent as the elegiac tone of this anthem is nowhere broken save for an isolated galloping raid near the end. “Awaken!” is the forgotten Sabbath track, most likely a leftover from “Sabbath Bloody Sabbath”, a frolic doomster at its most volatile, the staple gallops roaming around for the umpteenth time with great lead sections adding enchanting Oriental atmosphere to the proceedings. “Key to Nirvana” is the next in line outstanding piece, a steady steam-rolling mid-pacer without any fast-paced embellishments, the key to the 12-min behemoth “The Sea of Tranquillity” that follows which indeed has a most tranquil introduction, 2.5-min of serene balladisms before the doom hits, an elegiac mournful hymn with amazing leads, more balladic beauty, angelic Simpson behind the mike, and a spellbinding melodic epitaph. “Equinox” has the ungrateful task to close this saga after such a thoroughly depleting number, but the band pull themselves together for the last time to produce a closing antediluvian wrap-on with sudden Shrapnel-like lead pyrotechnics introduced mid-way which also inaugurate the speedy escapade that lasts till the end.

It took a crust/thrashcore outfit to remember the glorious past of British metal, and bring it up to the front in all its lustre. And not only, but even after all these years this album stands as one of the five finest products of the UK sizeable doom metal movement. It single-handedly elevated the doom consciousness in England in order to make acts like My Dying Bride, Cathedral, Serenity, Solitude, Mourn and Acrimony possible. They could have fitted so well into the tsunami of doom metal practitioners that started a mere few years later… I guess it was mission accomplished for them once the doom revolution was started, and they may have felt like they had nothing more to give to the metal world.

Some 25 years later Simpson and Co. are back, and although so far it’s been only compilations of old material that have been released, one should rest assured that whenever she/he needs a guide to take him/her from the Realms of Crust to the Mountains of Doom, these veterans will rise to the occasion, and will provide a map for this road least travelled down to the utmost detail.

Bayern



..::TRACK-LIST::..

1. Father Time (Beneath The Gaze) 5:50
2. Silent Dark 7:52
3. Soul Search 7:13
4. Awaken (Suryanamaskar) 5:31
5. Key To Nirvana 7:34
6. Into The Sea Of Tranquility (Parts I, II, III) 11:49
7. Equinox 6:45



..::OBSADA::..

Lynda (Tam) Simpson - Vocals, Lyrics, Songwriting
Damian Thompson - Guitars, Bass (tracks 2, 3), Songwriting
Frank Healy - Bass
Spikey T. Smith - Drums, Percussion




https://www.youtube.com/watch?v=Kcfd2PkzA1A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Legends of UK punk/metal SACRILEGE'S third album 'Turn Back Trilobite' including 12" with Demo and live sessions re-issued!



Sacrilege are an utterly essential act in UK metal history for three main reasons:

1) They were one of the first female-fronted outfits in metal history, probably second only to the Belgians Acid;
2) They were the first thrash metal band on UK soil alongside Onslaught;
3) They were the first modern doom metal practitioners in England, predating the doom metal hordes of the early-90’s.

A truly important entity that managed to carve their own individualistic sound from the get-go with this abrasive crust/punk/hardcore/thrash madness that was their debut. The sophomore continued consolidating their reputation as a less ordinary band the guys (and a girl) insisting on their hypnotic, monolithic mid-paced delivery without any unnecessary flourishes. Speed was out of the question, but one hardly needed it in this particular case as the band were the requisite antidote to the myriad fast-paced riffmongers with which the scene had started filling in.

The year is 1989, and Sacrilege’s third opus is a fact. What has changed on this trilobite, you may wonder? No change would have been perfect since the band had already established a fairly individualistic approach to the genre, with a loyal following… Well, there was no end to evolution, and here is the biggest surprise: this is a doom metal recording showing an obvious fascination with the works of the Swedish heroes Candlemass and Mercy, and of course the fathers of all things doom Black Sabbath. Not much left from their ultimately charming, unclean, rough dirgy thrash; the production has been polished down to the -D-, and “Father Time” is the officiant stomping opener with Lynda Simpson showing her more lyrical vocal side. More energetic gallops appear later to remind of the band’s past glories, but the dark doom-laden riffage remains unperturbed by those deviations. “Silent Dark” is doom at its most shining best, a hymn that would have been a highlight even on “Nightfall” (Candlemass), an enchanting symbiosis of melody and heaviness that relies on the gallop again for the more dynamic additive although later on more aggressive, nearly thrashy, rhythms make themselves heard. Not to worry as this is doom metal all the same with a more brutal engine akin to Candlemass’ “Ancient Dreams”.

“Soul Search” begins in a most alluring balladic manner with gorgeous melodic leads Simpson sounding more romantic and benevolent as the elegiac tone of this anthem is nowhere broken save for an isolated galloping raid near the end. “Awaken!” is the forgotten Sabbath track, most likely a leftover from “Sabbath Bloody Sabbath”, a frolic doomster at its most volatile, the staple gallops roaming around for the umpteenth time with great lead sections adding enchanting Oriental atmosphere to the proceedings. “Key to Nirvana” is the next in line outstanding piece, a steady steam-rolling mid-pacer without any fast-paced embellishments, the key to the 12-min behemoth “The Sea of Tranquillity” that follows which indeed has a most tranquil introduction, 2.5-min of serene balladisms before the doom hits, an elegiac mournful hymn with amazing leads, more balladic beauty, angelic Simpson behind the mike, and a spellbinding melodic epitaph. “Equinox” has the ungrateful task to close this saga after such a thoroughly depleting number, but the band pull themselves together for the last time to produce a closing antediluvian wrap-on with sudden Shrapnel-like lead pyrotechnics introduced mid-way which also inaugurate the speedy escapade that lasts till the end.

It took a crust/thrashcore outfit to remember the glorious past of British metal, and bring it up to the front in all its lustre. And not only, but even after all these years this album stands as one of the five finest products of the UK sizeable doom metal movement. It single-handedly elevated the doom consciousness in England in order to make acts like My Dying Bride, Cathedral, Serenity, Solitude, Mourn and Acrimony possible. They could have fitted so well into the tsunami of doom metal practitioners that started a mere few years later… I guess it was mission accomplished for them once the doom revolution was started, and they may have felt like they had nothing more to give to the metal world.

Some 25 years later Simpson and Co. are back, and although so far it’s been only compilations of old material that have been released, one should rest assured that whenever she/he needs a guide to take him/her from the Realms of Crust to the Mountains of Doom, these veterans will rise to the occasion, and will provide a map for this road least travelled down to the utmost detail.

Bayern



..::TRACK-LIST::..

1. Father Time (Beneath The Gaze) 5:50
2. Silent Dark 7:52
3. Soul Search 7:13
4. Awaken (Suryanamaskar) 5:31
5. Key To Nirvana 7:34
6. Into The Sea Of Tranquility (Parts I, II, III) 11:49
7. Equinox 6:45



..::OBSADA::..

Lynda (Tam) Simpson - Vocals, Lyrics, Songwriting
Damian Thompson - Guitars, Bass (tracks 2, 3), Songwriting
Frank Healy - Bass
Spikey T. Smith - Drums, Percussion




https://www.youtube.com/watch?v=Kcfd2PkzA1A



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

..::INFO::..

Chaos UK to siła, z którą należy się liczyć w świecie punk rocka! Powstała w 1979 roku w Portishead w Somerset, ta ikoniczna grupa, prowadzona przez tajemniczego wokalistę znanego po prostu jako Chaos, na zawsze zapisała się w annałach historii anarcho-punka. Z dźwiękiem, który jest nieprzepraszająco szybki, surowy i konfrontacyjny, wyróżnili się jako przedstawiciele brytyjskiej sceny anarcho-punk w latach 80. Chaos UK to nie tylko byt muzyczny - to zjawisko kulturowe, które przesiąka swoją muzykę społecznie świadomymi tekstami i surową postawą, która głęboko koresponduje z ich zagorzałymi fanami. Ta reputacja sprawiła, że zyskali popularność nie tylko w Wielkiej Brytanii, ale także wywarli wpływ za granicą, szczególnie w Japonii, gdzie ich agresywny dźwięk zapalił scenę muzyki noise. Wstawka zawiera kompilacyjny album zespołu.

Title: Chaos UK

Artist: Chaos UK

Country: Wielka Brytania

Year: 2018

Genre: Punk

Format / Codec: MP3

Audio bitrate: VBR

...( TrackList )…
1.All or Nothing _Hearts of Noize
2.2000 Lies
3.Chunderer
4.Demise
5.Eighties
6.Full Retreat
7.Gone & Forgotten
8.Imposed
9.Killa On da Loose
10.King For A Day
11.Marvellous
12.Outta My Brain
13.Remraid
14.Sick And Blind
15.Student
16.Systemised
17.This Song Has Been Genetically Modified
18.TPFP
19.Void

..::INFO::..

Tito & Tarantula - amerykańska grupa muzyczna, grająca rocka latynoskiego z elementami hard rocka, powstała z inicjatywy muzyka i aktora – Tito Larrivy w Hollywood w roku 1992. Grupa zasłynęła m.in. z występu w filmie Roberta Rodrigueza pt. „Od zmierzchu do świtu”, jako kapela grająca w barze „Titty Twister”. Wstawka zawiera ósmy, najnowszy album studyjny zespołu.

Title: !Brincamos!

Artist: Tito And Tarantula

Country: USA

Year: 2025

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

A1.X The Soul
A2.Be Someone
A3.Red Shoes
A4.Wasp
B1.Sneer At The Drummer
B2.The Price
B3.99 Point 9
B4.We Danced
B5.Everybody Needs

..::INFO::..

The Chills to nowozelandzki zespół indie rockowy, który powstał w Dunedin w 1980 roku. Na czele zespołu stał główny wokalista i autor tekstów, gitarzysta Martin Phillipps. W połowie lat 90. występowali jako Martin Phillipps & the Chills. Wstawka zawiera najnowsze wydawnictwo zespołu – album ze wczesnymi, niepublikowanymi utworami.

Title: Spring Board The Early Unrecorded Songs

Artist: The Chills

Country: Nowa Zelandia

Year: 2025

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( TrackList )…
Dolphins
Learn To Try Again
If This World Was Made For Me
Juicy Creaming Soda
I'll Protect You
And When You're There
Declaration
Stay Longer
Slime
Steel Skies
Jellyhead
Such Self Pity
Meet My Eyes
Bad Eggs
Lion Tamer
The Other
Since You Left Me
Watching Old Home Movies
I Saw Your Silhouette
I Don't Want To Live Forever

TRACKLISTA:

CD1
1. młody gandolfini
2. śmieszy już FREESTYLE
3. nie tym razem Lyrics
4. różnie to było Feat. Pezet
5. ​najlepszy dzień Feat. Oki
6. koto freestyle
7. hooligan flex
8. tak niewiele brakowało Feat. Kukon
9. nie ma co Feat. ​Gibbs
10. fajnie mi z niczym
11. chłopaki jak my Feat. Kizo
12. tagi

CD2
1. kyoto Feat. Zalia
2. nad ranem
3. pewność Feat. ​Gibbs
4. zanim spadnie deszcz Feat. Mrozu
5. budzi mnie wiatr
6. sam na świecie
7. ​​​​na bombę
8. figle Feat. Vito Bambino
9. oddzwoń Feat. Natalia Szroeder
10. zapomnę twoje dziary
11. chcę ci powiedzieć


DANE TECHNICZNE:

Wielkość uploadu 149,9 MB
Format/Kodek: Mp3

TRACKLISTA:

CD1 - Połączenia 2
1. Billboard
2. Pod prąd
3. Obieg słów
4. MMORPG
5. Mood
6. Dam wiarę
7. Ruchy
8. Toksyny
9. Wróć Lyrics
10. Równowaga
11. Zobacz jak
12. Nocne jazdy
13. Kevlar
14. Najwyżej zostaniemy najwyżej
15. Utopia (Bonus Track)

CD2 - Połączenia 1,5
1. NIE ODBIERAM (INTRO)
2. POMIĘDZY
3. BEKSIŃSKI
4. KREW ZA CREW
5. NIEOBECNY
6. BRAK CIEBIE
7. CHIBI Feat. VAE VISTIC
8. SPOKÓJ WODY
9. LOT
10. ZADZWONIĘ PÓŹNIEJ

CD3 - Połączenia 2 (Remixy)
1. RUCHY (REMIX) Feat. Cooks, GMB (POL), INDЄB, Inee, JANEK. (POL) & Oliver Olson
2. OBIEG SŁÓW (REMIX) Feat. Słoń
3. MOOD (REMIX) Feat. Frank Leen
4. ZOBACZYĆ JAK (REMIX) Feat. Paluch
5. NOCNE JAZDY (REMIX) Feat. Pezet
6. KEVLAR (REMIX) Feat. Białas
7. TOKSYNY (REMIX) Feat. Kuban


DANE TECHNICZNE:

Wielkość uploadu 225,1 MB
Format/Kodek: Mp3

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Legenda australijskiego grindcore'a z muzykami FILTH i UNDINISM w składzie + nowy zespół Jasona z BLOOD DUSTER grający covery NAPALM DEATH ze 'Scum'.



..::TRACK-LIST::..

Kutabare
1. The Hearse Driver 3:31
2. Cannibalistic Hobo 3:52
3. Siege Of Power (Napalm Death cover) 3:33

Dead Root
4. Legend Of Robbo 1:38
5. Race To The Ground 1:25
6. Anus Vomit Mouth 1:12
7. Common Enemy (Napalm Death cover) 0:13

Track 7 is an Japanese Release Exclusive track.



..::OBSADA::..

Kutabare:
Bass [Low End] - Steve Undinism (tracks: 1 to 3)
Drums [Tempo] - Pete Limbspasm (tracks: 1 to 3)
Guitar [Shredding] - Sean Servantes (tracks: 1 to 3)
Vocals [Throat] - Mike FB (tracks: 1 to 3)

Dead Root:
Bass - Stampy (tracks: 4 to 7)
Drums - Hashman (tracks: 4 to 7)
Guitar, Vocals [Vox] - Bin Meat Bon Jovi (tracks: 4 to 7)




https://www.youtube.com/watch?v=-sp7jdE3Kf4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Legenda australijskiego grindcore'a z muzykami FILTH i UNDINISM w składzie + nowy zespół Jasona z BLOOD DUSTER grający covery NAPALM DEATH ze 'Scum'.



..::TRACK-LIST::..

Kutabare
1. The Hearse Driver 3:31
2. Cannibalistic Hobo 3:52
3. Siege Of Power (Napalm Death cover) 3:33

Dead Root
4. Legend Of Robbo 1:38
5. Race To The Ground 1:25
6. Anus Vomit Mouth 1:12
7. Common Enemy (Napalm Death cover) 0:13

Track 7 is an Japanese Release Exclusive track.



..::OBSADA::..

Kutabare:
Bass [Low End] - Steve Undinism (tracks: 1 to 3)
Drums [Tempo] - Pete Limbspasm (tracks: 1 to 3)
Guitar [Shredding] - Sean Servantes (tracks: 1 to 3)
Vocals [Throat] - Mike FB (tracks: 1 to 3)

Dead Root:
Bass - Stampy (tracks: 4 to 7)
Drums - Hashman (tracks: 4 to 7)
Guitar, Vocals [Vox] - Bin Meat Bon Jovi (tracks: 4 to 7)




https://www.youtube.com/watch?v=-sp7jdE3Kf4



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

..::INFO::..

---------------------------------------------------------------------
Deep Purple - Made In Japan (Remastered 2000)
---------------------------------------------------------------------

Artist...............: Deep Purple
Album................: Made In Japan
Genre................: Hard Rock
Source...............: CD
Year.................: 1972
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 61 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Remastered by Selles

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

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

1. Deep Purple - Highway Star [06:30]
2. Deep Purple - Child In Time [12:16]
3. Deep Purple - Smoke On The Water [07:06]
4. Deep Purple - The Mule [09:27]
5. Deep Purple - Strange Kind Of Women [09:12]
6. Deep Purple - Lazy [10:05]
7. Deep Purple - Space Truckin' [19:17]

Playing Time.........: 01:13:57
Total Size...........: 450,91 MB

..::INFO::..

---------------------------------------------------------------------
Deep Purple - 30 Very Best Of (2 CD)
---------------------------------------------------------------------

Artist...............: Deep Purple
Album................: 30 Very Best Of
Genre................: Hard Rock
Source...............: CD
Year.................: 1998
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 62 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment

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

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

1. Deep Purple - Hush [04:27]
2. Deep Purple - Mandrake Root [06:11]
3. Deep Purple - Kentucky Woman [04:43]
4. Deep Purple - Wring That Neck [05:14]
5. Deep Purple - The Bird Has Flown [02:54]
6. Deep Purple - Emmaretta [03:00]
7. Deep Purple - Hallelujah [03:43]
8. Deep Purple - Black Night [03:29]
9. Deep Purple - Speed King [05:53]
10. Deep Purple - Bloodsucker [04:13]
11. Deep Purple - Child in Time [10:17]
12. Deep Purple - Strange Kind of Woman [03:54]
13. Deep Purple - Fireball [03:24]
14. Deep Purple - Demon’s Eye [05:22]
15. Deep Purple - When a Blind Man Cries [03:31]

Playing Time.........: 01:10:23
Total Size...........: 442,85 MB

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

1. Deep Purple - Highway Star [06:31]
2. Deep Purple - Smoke on the Water [05:43]
3. Deep Purple - Never Before [04:01]
4. Deep Purple - Woman From Tokyo [05:51]
5. Deep Purple - Burn [06:03]
6. Deep Purple - Might Just Take Your Life [04:39]
7. Deep Purple - Stormbringer [04:08]
8. Deep Purple - You Keep On Moving [05:19]
9. Deep Purple - Perfect Strangers [05:21]
10. Deep Purple - Knocking at Your Back Door [07:03]
11. Deep Purple - King of Dreams [05:29]
12. Deep Purple - Ted the Mechanic [04:18]
13. Deep Purple - Any Fule Kno That [04:28]

Playing Time.........: 01:08:59
Total Size...........: 486,99 MB

...( Info )...

Artist: Various Artists
Album: Country Campfire
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Austin Snell - I've Been Drinking (feat. Hannah McFarland)
02. Zach Bryan - Blue Jean Baby
03. Dasha - Drown Me
04. Randy Travis - Horses in Heaven
05. Ashley McBryde - Light On in the Kitchen
06. Charlie Worsham - How I Learned to Pray (feat. Luke Combs)
07. Cole Swindell - Kill a Prayer
08. Dan + Shay - Bigger Houses
09. Eli Winders - Famous for a Heartache (feat. Vincent Mason)
10. Gabby Barrett - God, Money & Love
11. Gavin Adcock - Need To
12. Ian Munsick - Come Home to You
13. Maddox Batson - I Don't Like You Anymore
14. Tyler Braden - GOD & GUNS N’ ROSES
15. Sam Barber - Restless Mind (feat. Avery Anna)
16. Mason Ramsey - Live Lonely
17. The Wreckers - Leave the Pieces
18. Jordyn Shellhart - Praise You
19. Zach Bryan - This World's a Giant
20. Hudson Westbrook - Mine Tomorrow
21. The Castellows - Place They Call Home (feat. Flatland Cavalry)
22. Gavin Adcock - Loose Strings
23. Redferrin - Pourin' in Nashville
24. Warren Zeiders - Can a Heart Take
25. Keith Braxton - Cozy
26. Dan + Shay - My Side of the Fence
27. Blake Shelton - Frame of Mine
28. Adrien Nunez - LOW ROAD (feat. Avery Anna)
29. Pecos & the Rooftops - Sweet Tumbleweed
30. Jamey Johnson - Midnight Gasoline
31. Chase Matthew - Dancing in the Rain
32. Maddox Batson - Southbound
33. Breland - Same Work (feat. The War And Treaty)
34. Tyler Braden - Above the Water
35. Tyler Halverson - Nobody’s Everything
36. Cameron Whitcomb - Flower Tattoos
37. Brittney Spencer - Guitar Lady
38. Cody Johnson - I'm Gonna Love You
39. Ian Munsick - Caroline
40. Mason Ramsey - I’ll See You in My Dreams
41. Orville Peck - Rhinestone Cowboy
42. William Beckmann - Not That Strong
43. Tyler Childers - Song While You're Away (From Twisters The Album)
44. Noah Rinker - Wherever I Go
45. Eli Winders - Pack My Hometown
46. Dasha - Austin
47. Tanner Usrey - Beautiful Lies
48. Cole Swindell - Forever to Me
49. Warren Zeiders - Heartbreaker
50. Austin Snell - Pray All the Way Home
51. Sam Barber - Straight and Narrow
52. Avery Anna - Mr. Predictable
53. Kenny Chesney - Love for Love City (feat. Ziggy Marley)
54. The Castellows - Hurricane
55. Brandy Clark - Homecoming Queen
56. Bailey Zimmerman - Hell or High Water (From Twisters The Album)
57. The Hanseroth Twins - Remember Me
58. Nolan Taylor - Cincinnati Heart
59. Taylor Berrett - The Village, the Wolf and the Boy
60. Delta Rae - Bottom of the River
61. Gabby Barrett - The Good Ones
62. Devin Dawson - All on Me
63. Kaleo - Lonely Cowboy (Radio Edit)
64. Cody Johnson - The Painter
65. Brett Eldredge - The Long Way

...( Info )...
OldiesPart019⭐MP3@320kbps Grand12''.Vol 1-8

All of these Volumes are 4 CD sets with the exception of Volume 10 which has 6 CD's and each with an average of 10 tracks per CD, but that's understandable when extended and full-album versions are being used in favor of the single/radio edits that are so often used on compilations. There are too many highlights to mention.

Excellent; sound quality is superb. I have many of the individual originals on vinyl (and even have a mixer collecting dust somewhere) For continuous non-stop/one stop CD play, this is it. Can imagine how difficult it was to collect all these tracks, it would be a long, arduous and expensive process to buy them separately. While there are some odd choices here and there, 90% or more should really please fans. Order some dancing shoes to go with it. (Amazon)

...( TrackList )...

Volume 01

01  Donna Summer  I Feel Love (Original 12'' Version)  8:13
02  Giorgio Moroder  Chase (Original 12'' Version)  8:26
03  Lipps Inc.  Funky Town (Original 12'' Version)  7:46
04  Cerrone  Supernature (Full Length Album Version)  10:55
05  Patrick Cowley  Menergy (Original 12'' Version)  8:48
06  Gino Soccio  Dancer (Original 12'' Version)  8:27
07  Sylvester  You Make Me Feel (Mighty Real) (Original 12'' Version)  6:30
08  Gonzalez  Haven't Stopped Dancing Yet (Original 12'' Version)  7:58
09  Kat Mandu  The Break (Original 12'' Version)  8:40

01  Yarbrough & Peoples  Don't Stop The Music (Original 12'' Version)  7:51
02  Chic  Good Times (Original 12'' Version)  8:00
03  Patrice Rushen  Forget Me Nots (Original 12'' Version)  4:41
04  Change  A Lover's Holiday (Full Length Album Version)  6:16
05  Oliver Cheatham  Get Down Saturday Night (Original 12'' Version)  6:52
06  Kool & The Gang  Fresh (12'' Remix)  5:48
07  Michael Zager Band  Let's All Chant (Original 12'' Version)  6:50
08  Rick James  Super Freak (Original 12'' Version)  7:05
09  Sugarhill Gang  Rapper's Delight (Full Length Version)  14:34
10  Indeep  Last Night A DJ Saved My Life (Original 12'' Version)  5:40
11  Indeep  Last Night A DJ Saved My Life (Acappella)  3:02

01  D'Train  You're The One For Me (Special Dub / Vocal Edit)  7:17
02  Sharon Redd  Beat The Street (Special Dub / Vocal Edit)  7:20
03  Carol Jiani  Hit 'n Run Lover (Original 12'' Version)  8:15
04  The Jacksons  Shake Your Body (12'' Remix)  8:37
05  Shannon  Let The Music Play (Original 12'' Version)  5:46
06  Freeez  I.O.U. (Original 12'' Version)  8:42
07  Class Action  Weekend (Original 12'' Version)  8:25
08  Moses  We Just (Original 12'' Version)  6:27
09  Donna Summer  I Feel Love (Patrick Cowley Remix)  15:56

01  Ce Ce Peniston  Finally (12'' Choice Mix)  7:03
02  Technotronic  Pump Up The Jam (Vocal 12'' Version)  5:21
03  Robin S  Luv 4 Luv (Original 12'' Version)  6:06
04  Robin S  Show Me Love (Original 12'' Version)  8:49
05  Snap  Rhythm Is A Dancer (12'' Mix)  5:12
06  Kristine W  Feel What You Want (Our Tribe Vocal 12'' Mix)  5:27
07  2 Unlimited  Get Ready For This (Original 12'' Version)  5:54
08  Frankie Goes To Hollywood  Relax (Original New York 12'' Mix)  7:24
09  New Order  Blue Monday (Complete Original 12'' Version)  7:28
10  Yazoo  Situation (Special Dub / Vocal Edit)  9:01
11  Art Of Noise  Moments In Love (Liebrand Mix)  8:37

Volume 02

01  Telex  Moscow Diskow (English 12'' Version)  5:26
02  Harry Thumann  Underwater (12'' Version)  6:04
03  Martin Circus  Disco Circus (Full Length Version)  14:04
04  Harold Faltermeyer  Axel F (12'' Version)  7:15
05  C.O.D.  In The Bottle (12'' Version)  6:04
06  Dazz Band  Let It All Blow  5:54
07  Dan Hartman  Vertigo / Relight My Fire (Full Length Version)  12:00
08  Supermax  Love Machine (12'' Version)  8:38
09  American Gypsy  I'm OK, You're OK (12'' Version)  5:27
10  Telex  Moscow Diskow (French 12'' Version)  7:30

01  Grandmaster Flash  The Message (12'' Version)  7:15
02  Blondie  Rapture (Full Length Version)  10:02
03  Chemise  She Can't Love You (12'' Version)  5:08
04  Stephanie Mills  Medicine Song (12'' Version)  6:23
05  Colonel Abrams  Trapped (12'' Version)  6:29
06  T-Connection  At Midnight (12'' Version)  9:44
07  Latoya Jackson  If You Feel The Funk (12'' Version)  5:13
08  Miami Sound Machine  Dr. Beat (12'' Version)  6:34
09  Peter Brown  Love Is Just The Game (12'' Version)  7:01
10  The Limit  Say Yeah (Vocal + Dub Version)  10:35

01  Sharon Redd  Can You Handle It (Francois K Mix)  9:00
02  David Joseph  You Can't Hide Your Love From Me (12'' Version)  6:44
03  Sharon Brown  Specialize In Love (12'' Version)  7:17
04  Jean Carn  Was That All It Was (12'' Version)  6:32
05  Mtume  So You Wanna Be A Star (12'' Version)  5:18
06  Hugh Masakela  Don't Go Lose It Baby (12'' Version)  7:36
07  Miami Sound Machine  Conga (12'' Version)  5:57
08  Manhattan Transfer  Twilight Zone (12'' Version)  6:08
09  Donna Summer  Last Dance (Full Length Version)  8:12
10  Santa Esmeralda  Don't Let Me Be Misunderstood (12'' Version)  16:10

01  The Jacksons  Can You Feel It (Live Version)  6:10
02  M  Pop Muzik (12'' Version)  4:56
03  Paul Hardcastle  19 (12'' Version)  5:16
04  MDMC  How About It (12'' Version)  7:26
05  The BBQ Band  On The Beat (Original 12'' Version)  5:56
06  Sunbelt  Spin It (12'' Version)  7:40
07  Felix  Don't You Want Me (12'' Version)  5:56
08  Yazoo  Don't Go (Vocal + Dub Version)  8:27
09  Sheila E  Glamorous Life  6:36
10  Macho  I'm A Man (Full Length Version)  17:37

Volume 03

01  Robert Palmer  You Are In My System (Extended Album Version)  6:01
02  André Cymone  The Dance Electric (Long Version)  5:35
03  Chaz Jankel  Glad To Know You (12'' Version)  6:39
04  Suzi Lane  Harmony (12'' Version)  7:00
05  The Chaplin Band  Madmen's Discothèque (Part 1 & Part 2)  6:30
06  Janis Ian  Fly Too High (12'' Version)  6:53
07  The Rah Band  Slide (12'' Version)  6:40
08  The Real Thing  Can You Feel The Force (12'' Version)  7:39
09  Anita Ward  Ring My Bell (12'' Version)  8:13
10  Boys Town Gang  Cruisin' The Streets (12'' Version)  13:14

01  Positive Force  We Got The Funk (12'' Version)  4:32
02  Lakeside  Fantastic Voyage (12'' Version)  6:13
03  Cheryl Lynn  Shake It Up Tonight (Album Version)  5:43
04  Colonel Abrams  I'm Not Gonna Let You Go (12'' Version)  6:48
05  Crown Heights Affair  You Gave Me Love (12'' Version)  5:52
06  Rose Royce  R.R. Express  12:01
07  Jerry Knight  Overnight Sensation (12'' Version)  6:30
08  M.F.S.B.  Love Is The Message (Album Version)  11:33
09  Edwin Starr  Contact (12'' Version)  7:15
10  Earth, Wind & Fire  Boogie Wonderland (12'' Version)  8:16

01  Reddings  The Awakening (Part 1 & Part 2)  3:33
02  Earth, Wind & Fire  Fantasy (Shelter DJ Mix)  8:58
03  Trussel  Love Injection (Album Version)  7:54
04  Gene Chandler  Get Down (12'' Version)  8:18
05  Billy Ocean  Are You Ready (12'' Version)  6:46
06  Dynasty  I Don't Wanna Be A Freak (But I Can't Help Myself) (12'' Version)  7:23
07  Herbie Hancock  Tell Everybody (Disco Version)  7:51
08  Shalamar  Right In The Socket (12'' Version)  6:42
09  Third World  Now That We've Found Love (12'' Version)  8:17
10  Commodores  Brick House (Live)  10:26

01  Imagination  Body Talk (12'' Version)  6:02
02  Fern Kinney  Groove Me (Long Version)  8:54
03  One Way Feat. Al Hudson  You Can Do It (12'' Version)  7:03
04  David Bowie  Let's Dance (12'' Version)  7:40
05  Fox The Fox  Precious Little Diamond (Ben Liebrand 12'' Mix)  7:28
06  Fun Fun  Happy Station (Original 12'' Version)  7:16
07  Tavares  Heaven Must Be Missing An Angel (Irresistible Angel Mix)  8:37
08  Liaisons Dangereuses  Los Niños Del Parque (12'' Version)  5:02
09  Talk Talk  Such A Shame (12'' Mix)  7:01
10  Faithless  Salva Mea (Full Epic Mix)  11:52

Volume 04

01  Michael Jackson  Billie Jean (Original 12'' Version)  6:25
02  War  Galaxy (Full Length Version)  8:12
03  A Taste Of Honey  Boogie Oogie Oogie (12'' Version)  5:30
04  Heatwave  The Groove Line (12'' Version)  7:29
05  Chic  Le Freak (Album Version)  5:34
06  Jimmy Bo Horne  Spank (12'' Version)  7:00
07  Peter Brown  They Only Come Out At Night (12'' Version)  6:25
08  Sister Sledge  He's The Greatest Dancer (Album Version)  6:06
09  Billy Ocean  Stay The Night (12'' Version)  6:17
10  Farley ''Jackmaster'' Funk  Love Can't Turn Around (Ben Liebrand Edit)  17:15

01  Grace Jones  La Vie En Rose (12'' Version)  7:28
02  Change  You Are My Melody (12'' Version)  6:22
03  World Premiere  Share The Night (12'' Version)  7:26
04  BB & Q Band  Genie (Album Version)  6:00
05  Aretha Franklin  Who's Zoomin' Who? (12'' Version)  8:36
06  Deodato  S.O.S. Fire In The Sky (12'' Version)  6:48
07  Peter Jacques Band  Going Dancing In The Street (12'' Version)  5:51
08  Earth, Wind & Fire  System Of Survival (12'' Version)  7:41
09  The Jacksons  Walk Right Now (12'' Version)  7:40
10  The Three Degrees  The Runner (12'' Version)  7:46

01  Pet Shop Boys  West End Girls (Bobby Orlando 12'' Version)  7:52
02  Bobby Orlando  She Has A Way (12'' Version)  5:51
03  The Mike Theodore Orchestra  High On Mad Mountain (12'' Version)  8:15
04  Divine  Native Love (12'' Version)  5:06
05  Bobby Orlando  I'm So Hot For You (12'' Version)  5:10
06  Azoto  San Salvador (12'' Version)  6:55
07  Easy Going  Fear (Original 12'' Version)  7:52
08  Midway  Set It Out (12'' Version)  6:36
09  Flirts  Passion (12'' Version)  9:03
10  Hot R.S.  House Of The Rising Sun (Full Length Version)  14:39

01  George Kranz  Trommeltanz (Din Da Da) (12'' Master Version)  6:19
02  Roy Ayers Ubiquity  Running Away (Long Version)  6:56
03  Mai Tai  History (Rutger Kroese 12'' Version)  7:19
04  Level 42  Love Games (Album Version)  7:24
05  Mantronix Feat. Wondress  Got To Have Your Love (Club With Bonus Beats)  8:24
06  Pointer Sisters  Automatic (12'' Version)  6:08
07  Quincy Jones  Ai No Corrida (12'' Version)  6:16
08  G.Q.  Disco Nights (Rock-Freak) (12'' Version)  5:15
09  Laid Back  White Horse (12'' Version)  5:45
10  Jam & Spoon  Follow Me (12'' Version)  12:29
11  George Kranz  Trommeltanz (Din Da Da) (Dub Version)  3:06

Volume 05

01  Michael Jackson  Don't Stop 'Till You Get Enough (12'' Version)  6:08
02  The Brothers Johnson  Stomp! (12'' Version)  5:59
03  Cameo  Word Up! (Extended Version)  5:58
04  Rick James  Glow / Glow Reprise (Album Mix)  5:44
05  Mary Jane Girls  In My House (12'' Version)  5:05
06  Sun  Sun Is Here (12'' Version)  5:05
07  Ashford & Simpson  Solid (Special Club Mix)  6:19
08  The Floaters  Float On (Album Version)  11:49
09  Chaplin Band  Il Veliero (12'' Version)  12:01
10  Amii Stewart  Knock On Wood (12'' version)  6:52

01  Lionel Richie  All Night Long (All Night) (12'' Version)  6:22
02  Diana Ross  I'm Coming Out (Original Chic Mix)  6:02
03  Rah Band  Clouds Across The Moon (12'' Version)  6:52
04  Stargard  Theme From ''Which Way Is Up'' (12'' Version)  6:48
05  McFadden & Whitehead  Ain't No Stoppin Us Now (12'' Version)  7:04
06  Marvin Gaye  Sexual Healing (Liebrand Edit)  9:27
07  Soul II Soul  Back To Life (However Do You Want Me) (12'' Version)  7:41
08  Advance  Take Me To The Top (12'' Version)  6:19
09  Patrick Juvet  I Love America (Album Version)  14:00
10  Peaches & Herb  Shake Your Groove Thing (12'' Version)  5:35

01  Cerrone  Love In C Minor (Album Mix)  16:22
02  Frantique  Strut Your Funky Stuff (Liebrand Edit)  6:17
03  Andy Williams  Love Story (12'' Version)  9:42
04  Womack & Womack  Teardrops (Extended Remix)  7:43
05  Jeff Wayne  The Eve Of The War (Long Version)  7:02
06  Earth, Wind & Fire  Thinking Of You (12'' Version)  7:58
07  Gary's Gang  Keep On Dancin' (12'' Version)  7:11
08  Three Degrees  The Runner (Long Version)  8:13
09  Jocko  Rhythm Talk (12'' Version)  7:15

01  Cock Robin  The Promise You Made (Special Dance Mix)  6:35
02  Time Bandits  Live It Up (12'' Version)  7:27
03  Breakfast Club  Right On Track (12'' Version)  7:15
04  Quick  Rhythm Of The Jungle (12'' Version)  7:20
05  Boney M.  Rasputin (Extended Version)  7:34
06  Mai Tai  What, Where, When, Who (12'' Version)  7:58
07  John Miles  Slow Down (12'' Version)  4:20
08  Human League  Don't You Want Me (12'' Version)  3:59
09  Human League  Don't You Want Me (Extended Dance Mix)  7:31
10  Automat  Automat  16:53

Volume 06

01  Frankie Goes To Hollywood  Two Tribes (Annihilation Mix)  9:11
02  Grace Jones  I'm Not Perfect (But I'm Perfect For You) (Ben Liebrand Remix)  6:54
03  Hall & Oates  I Can't Go For That (No Can Do) (Extended Version)  6:15
04  Wings  Goodnight Tonight (12'' Version)  7:20
05  Propaganda  P Machinery (Polish)  9:24
06  Sparks  Beat The Clock (Extended Version)  6:58
07  Tom Tom Club  Genius Of Love (Long Version)  7:30
08  Flash & The Pan  Midnight Man (Extended Version)  7:01
09  Depeche Mode  Just Can't Get Enough (Live Version)  5:44
10  Art Of Noise  Beat Box (Diversion One)  8:32

01  Earth, Wind & Fire  Serpentine Fire (12'' Promo Version)  5:03
02  Jacksons  Blame It On The Boogie (12'' Version)  6:59
03  Three Degrees  Dirty Ol' Man (12'' Version)  8:21
04  Players Association  Turn The Music Up! (12'' Version)  6:54
05  Deniece Williams  I've Got The Next Dance (Special Disco Version)  6:24
06  Whispers  It's A Love Thing (12'' Version)  5:11
07  Poussez!  Come On And Do It (Original 12'' Version)  9:54
08  Kano  I'm Ready (12'' Version)  7:17
09  Philadelphia International Allstars  Let's Clean Up The Ghetto (12'' Version)  8:41
10  Harlow  Take Off (12'' Version)  10:17

01  Shalamar  My Girl Loves Me (Original 12'' Remix)  6:53
02  Peter Brown  Do Ya Wanna Get Funky With Me (Full Length Version)  8:48
03  Alisha  Baby Talk (Special Remix By Shep Pettibone)  6:48
04  Vaughn Mason & Crew  Bounce, Rock, Skate, Roll (Part 1)  7:34
05  Loleatta Holloway  Crash Goes Love (12'' Blaster Mix)  7:28
06  Joe Smooth  Promised Land (Club Mix)  5:14
07  Cuba Gooding  Happiness Is Just Around The Bend (12'' Version)  7:03
08  Nairobi Feat. The Awesome Foursome  Funky Soul Makossa (Rap Version)  7:32
09  Poussez!  Never Gonna Say Goodbye (Original 12'' Version)  7:54
10  Dimples D  Sucker DJ's (I Will Survive) (Original 1983 12'' Version)  5:03
11  Dimples D  Sucker DJ's (Suckapella) (Original 1983 Acappella)  3:44

01  Dan Hartman  We Are The Young (Club Version)  6:56
02  Joyce Sims  Come Into My Life (Club Version)  8:24
03  Flash & The Pan  Waiting For A Train (Extended Version)  7:20
04  Miquel Brown  Close To Perfection (12'' Version)  8:19
05  Georgio  Bed Rock (Clubmix)  6:12
06  Dolly Dots  P.S. (12'' Version)  6:55
07  Vin Zee  Funky Be Bop (12'' Version)  6:54
08  Rebbie Jackson  Centipede (Extended Version)  5:57
09  Art Of Noise  Close To The Edit (12'' Edited Mix)  5:43
10  Frankie Goes To Hollywood  Rage Hard (Young Person's Guide To The 12'' Mix)  10:04

Volume 07

01  Michael Jackson  Wanna Be Startin' Somethin' (Extended Version)  6:32
02  Tavares  Heaven Must Be Missing An Angel (12'' Version)  6:34
03  Odyssey  Going Back To My Roots (12'' Version)  5:27
04  Gary's Gang  Showtime (12'' Version)  5:19
05  Carrie Lucas  Dance With You (12'' Version)  5:39
06  T-Connection  Do What You Wanna Do (Disco Version)  7:14
07  Evelyn ''Champagne'' King  I'm In Love (12'' Version)  5:56
08  Imagination  Just An Illusion (12'' Version)  6:29
09  Silver Convention  Fly Robin Fly (12'' Promo Version)  7:47
10  Tullio De Piscopo  Stop Bajon (12'' Version)  7:14

01  S-Express  Theme From S-Express (Platform 1 Mix)  6:03
02   Quick  Zulu (US 12'' Version)  7:54
03  Grace Jones  I've Seen That Face Before (Libertango) (Maxi Single)  5:42
04  Drum Theatre  Eldorado (Dance Mix)  6:29
05  Herbie Hancock  You Bet Your Love (US 12'' Version)  8:12
06  Baby 'O  In The Forest (Extended 12'' Version)  6:43
07  Krystol  After The Dance Is Through (Vocal 12'' Version)  5:17
08  Candido  Jingo (Original David Rodriguez 12'' Mix)  9:54
09  ORS  Moonboots (US Special 12'' Disco Mix)  9:35
10  Dan Hartman  Instant Replay (US Tom Moulton 12'' Version)  8:18

01  Jacksons  This Place Hotel (Heartbreak Hotel) (Full Length Version)  5:46
02  Gloria Gaynor  I Will Survive (Full Length 12'' Mix)  8:00
03  Midnight Star  Operator (Vocal LP Version)  7:45
04  Thelma Houston  You Used To Hold Me So Tight (12'' Version)  5:45
05  Shakatak  Mr. Manic And Sister Cool (Cool 12'' Mix)  6:14
06  T-Connection  Saturday Night (T.K. 12'' Version)  6:54
07  Natalie Cole  This Will Be (An Everlasting Love) (Ben Liebrand Original Multi Track Mix)  5:21
08  Leon Haywood  Don't Push It, Don't Force It (12'' Version)  5:27
09  Jackie Moore  This Time Baby (Special Disco Version)  7:01
10  Ramsey Lewis And Earth, Wind & Fire  Sun Goddess (Full Length Album Version)  8:30

01  Earth, Wind & Fire  Let Me Talk (Extended Mix)  6:53
02  Stone  Time (Vocal 12'' Version)  7:29
03  First Choice  Double Cross (Special 12'' Disco Mix)  7:01
04  Imagination  New Dimension (Electro Mix)  9:27
05  Black Box  Everybody Everybody (12'' Version)  5:25
06  Space  Carry On, Turn Me On (12'' Version)  8:20
07  Sheila & Devotion  Spacer (Vocal 12'' Version)  6:16
08  Edgar Winter  Above And Beyond (12'' Instrumental Version)  6:31
09  Instant Funk  I Got My Mind Made Up (Special 12'' Disco Mix)  9:48
10  Cerrone  I Want Love (Ben Liebrand 12'' Remix)  7:59

Volume 08

01  Chaka Khan  I Feel For You (Remix)  7:20
02  Michael Jackson  The Way You Make Me Feel (Dance Extended Mix)  7:54
03  Mary Jane Girls  All Night Long (Album Version)  5:46
04  Earth, Wind & Fire  Let's Groove (Special Remixed Holiday Version)  6:43
05  Donna Summer  On The Radio (Long Version)  7:38
06  Raw Silk  Do It To The Music (Vocal)  6:40
07  Shock  Let Your Body Do The Talkin' (Special 12'' Disco Mix)  6:11
08  Shirley Lites  Heat You Up (Melt You Down) (Melt Down Mix)  7:04
09  Fatback  Is This The Future? (Album Version)  8:57
10  Sheila E  A Love Bizarre (Part 1 & Part 2)  12:18

01  Patrick Hernandez  Born To Be Alive (12'' Mix)  7:29
02  Julius Brown  Party (Vocal)  6:16
03  Aretha Franklin  Jump To It (Extended Version)  6:33
04  Loose Ends  Hangin' On A String (Contemplating) (Extended Dance Mix)  6:00
05  Gwen Guthrie  Padlock (Long Version)  7:00
06  Spence  Get It On (Ben Liebrand Master Edit)  7:00
07  Paul Hardcastle  Rainforest (Ben Liebrand Master Edit)  6:34
08  Sueño Latino  La Puerta Del Sol (Island Mix)  7:02
09  Barbara Mason  Another Man (Vocal)  6:57
10  Frankie Goes To Hollywood  Welcome To The Pleasuredome (Pleasurefix)  9:46
11  Yellow Magic Orchestra  Computer Game (Ben Liebrand Firecracker Mix)  6:48

01  First Choice  Dr. Love (12'' Version)  8:23
02  Rick James  You And I (Disco Version)  8:00
03  Loleatta Holloway  Love Sensation (Unrealeased Version)  8:38
04  Richard T. Bear  Sunshine Hotel (Just Walk On In) (12'' Version)  6:17
05  Rose Royce  Do Your Dance (Part 1 & Part 2)  9:21
06  Sparque  Let's Go Dancin' (Club Version)  8:13
07  Taana Gardner  Work That Body (Part 1)  7:31
08  Simplicious Feat. Eugene Wilde  Let Her Feel It (Vocal)  6:21
09  Direct Current  Everybody Here Must Party (12'' Version)  5:13
10  Deodato  Also Sprach Zarathustra (Album Version)  9:03

01  Marvin Gaye  Got To Give It Up (Part 1 & Part 2)  11:55
02  Dayton  The Sound Of Music (X-tended Remix)  8:28
03  Cheryl Lynn  Encore (Dance Version)  8:22
04  Teena Marie  Behind The Groove (12'' Version)  6:03
05  Stacy Lattisaw  Jump To The Beat (12'' Version)  5:23
06  Joe Bataan  Rap-O Clap-O (12'' Version)  5:51
07  Risqué  Burn It Up (Mr. D.J.) (Ben Liebrand Master Edit)  9:52
08  Peter Brown  Crank It Up (Funk Town) (Part 1)  8:01
09  Frankie Smith  Double Dutch Bus (Vocal)  5:18
10  The Brothers Johnson  Get The Funk Out Ma Face (Disco Version)  5:58

...( Info )...

składanka mireczka-a takie tam vol.40
Gatunek: Dance,Disco,Vixa/Pompa
Rok:2025
mp3@320kbps
CZAS:01:40:24

...( TrackList )...

1.BLR & POOK - Hello It's Me (Taj) [fea (Crucian Bootleg)
2.F.R. David & Curbi feat. Dj Mularski vs. Toxic - Words echo (spacedj Mush EDIT) 2025)
3.DJ Bazz , Popek , Dr Alban , Polon - Andre & Michelle ( Club Revolution Mash Up )
4.Filipek & NEL - Nie ma chemii (FRYCEK REMIX)
5.Hardwell & Sarah De Warren - No Sleep (Crucian Remix)
6.Sokół feat. Pono, Fred & Franek Kimono - W aucie (Vaan G & DJ Arix Remix)
7.666 & Salt-N-Pepa feat. Danil x iXeN vs. Toxic - Push it and supa dupa fly (spacedj Mush EDIT) 2025)
8.KriZ Van Dee & Hu Biss - Call me on my phone (spacedj Mush Up) 2025)
9.AVA MAX - So Am I (Lj Raf!k EDIT)
10.Gritney Feat. Sarah De Warren - Rent Free (Extended Mix)
11.MBrother & Ariqu feat. Dj Kiwi - Trebles rollin (spacedj Mush EDIT) 2025)
12.WANCHIZ - Na Fali (VAYTO REMIX)
13.LoudBass & PABLO & Kate Ryan - Voyage Voyage ( DJ WALDI mash vixa edit )
14.TKM - InstaLove (Rotusu Remix)
15.DBL & Nexboy feat. Mike Candys vs. StrajGer x Dj Mass & J&G - Heaven & hell (spacedj Mush Up) 2025)
16.Gabry Ponte & Jerome Isma-Ae - Hold That Sucker Down (Crucian Bootleg)
17.La Fuente - Everybody (Crucian Bootleg)
18.Apashe - Tank Girls (feat. Zitaa) (Waldis Edit)
19.Klaas & Ruiz - Feel Only Love (Rotusu Remix)
20.DJ KC - We Like The House (CatchSky Bootleg)
21.Majki & Kumi ft. Major SPZ - Uno Momento (FRYCEK REMIX)
22.DJ Schwede - Soul Is Unreal (Original Version)
23.Macon - Baby Shake It (Extended Mix)
24.Prezioso, & Gabry Ponte Marvin & Andrea Prezioso - Discotek (Extended Mix)
25.Deemz, bambi, Waima, Young Leosia, Kizo - LECĘ BO CHCĘ (Rotusu Remix)
27.Neil Sedaka & CrazyDrop & Fryta vs. Tibidzsi - Och Carol...this is party (spacedj Mush Up) 2025)
28.Marc Korn & Abrissgebea feat. Citos & Arco De Groo - Live is life (spacedj Mush Up) 2025)
29.Waldis - Gruba Vixa (Blax Vocal Mix)
30.Dr. Alban & 666 feat. Adivix vs. Dj JOK3R - Diablo it's my life (spacedj Mush Up) 2025)

..::INFO::..

---------------------------------------------------------------------
Czesław Niemen - Sen o Warszawie
---------------------------------------------------------------------

Artist...............: Czesław Niemen
Album................: Sen o Warszawie
Genre................: Beat
Source...............: CD
Year.................: 1996
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 56 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Green Tree Records

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

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

1. Czesław Niemen - Felicidade [02:32]
2. Czesław Niemen - El Soldado [02:34]
3. Czesław Niemen - Teach Me How Do the Twist [02:43]
4. Czesław Niemen - Locomotion [02:26]
5. Czesław Niemen - Tylko nie mów o tym [02:40]
6. Czesław Niemen - Wiem, że nie wrócisz [03:05]
7. Czesław Niemen - Czy mnie jeszcze pamiętasz [03:03]
8. Czesław Niemen - Czas jak rzeka [03:10]
9. Czesław Niemen - Jak można wierzyć tylko słowom [02:44]
10. Czesław Niemen - Ach jakie oczy [02:21]
11. Czesław Niemen - Ptaki śpiewają - kocham [03:53]
12. Czesław Niemen - Nie bądź taki Bitels [02:48]
13. Czesław Niemen - Zabawa w ciuciubabkę [02:41]
14. Czesław Niemen - Hippy Hippy Shake [01:44]
15. Czesław Niemen - Stoję w oknie [02:50]
16. Czesław Niemen - Jeszcze sen [02:14]
17. Czesław Niemen - Czy wiesz o tym, że [02:34]
18. Czesław Niemen - Sen o Warszawie [03:21]
19. Czesław Niemen - Być może i ty [03:22]
20. Czesław Niemen - Hej dziewczyno hej [02:59]

Playing Time.........: 55:53
Total Size...........: 314,08 MB