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


..::OPIS::..

Dwupłytowe, rozszerzone, australijskie wydanie albumu "The Hoax Is Over", najpopularniejszej wówczas australijskiej formacji grającej w stylistyce wczesnych Allman Brothers Band. Pierwszy dysk zawiera album z 1971 roku, na którym Billy Thorpe & The Aztecs prezentują ciężkie, surowe brzmienie oparte na długich improwizacjach. Centralnym punktem płyty jest monumentalna, ponad dwudziestominutowa wersja „Gangster of Love”, pokazująca zespół w pełni koncertowej energii. Uzupełniają ją m.in. „Mississippi” oraz „Goodbye Baby”, a także zestaw singli i nagrań koncertowych z końca lat 60. i początku 70. Drugi dysk ma charakter archiwalny – zawiera wcześniej niepublikowane dema, nagrania koncertowe oraz rzadkie materiały z lat 1972–1976.



..::TRACK-LIST::..

CD 1:
The Hoax Is Over (1971)
1. Gangster Of Love
2. Goodbye Baby
3. Mississippi
4. Truth

Live & Singles (1967-73)
5. Season Of The Witch (Live)
6. Dream Baby (Single A-side)
7. You Don't Live Twice (Single B-side)
8. Good Mornin’ Little School Girl (Single A-side)
9. Rock Me Baby (Single B-side)
10. Pinball Wizard (Live)

Ronnie Charles with Billy Thorpe & The Aztecs (1970)
11. Natural Man


CD 2:
Aztecs Demo (1972) Previously Unreleased
1. Betsy

Aztecs Live at Bondi Lifesaver (1974) Previously Unreleased
2. Gimme Your Love
3. Get Ready
4. Ability To Rock

Aztecs Live At Sunbury (1975) Previously Unreleased
5. You Can’t Go Round Saying Fuck On Stage

Aztecs Sydney Rugby League Promo (1994)
6. Friday Night’s A Great Night For Football

Billy Thorpe Lounge Room Demos (1972-1975) Previously Unreleased
7. Believe It Just Like Me
8. Beautiful Days
9. Don’t Take That Light Away
10. It’s Almost Summer
11. I Really Miss You
12. No Title

Bruce Howard (1975) Previously Unreleased
13. Rock And Roll Music

Morgan & Matthews (1976)
14. Walk Me Out
15. Raw Love
16. Endless Winter’s Night



..::OBSADA::..

Billy Thorpe - vocals, harmonica, rhythm guitar
Lobby Loyde - lead guitar
Warren Morgan - keyboards
Paul Wheeler - bass
Kevin Murphy - drums



https://www.youtube.com/watch?v=3Mu8Y6QPot0


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

..::INFO::..

---------------------------------------------------------------------
AC DC - Power Up
(Blu-spec CD2) (Japan Edition)
---------------------------------------------------------------------

Artist...............: AC DC
Album................: Power Up
Genre................: Hard Rock
Source...............: CD
Year.................: 2020
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 78 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Sony Records Int'l - Japan

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

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

1. AC DC - Realize [03:37]
2. AC DC - Rejection [04:06]
3. AC DC - Shot In The Dark [03:05]
4. AC DC - Through The Mists Of Time [03:32]
5. AC DC - Kick You When You're Down [03:10]
6. AC DC - Witch's Spell [03:42]
7. AC DC - Demon Fire [03:30]
8. AC DC - Wild Reputation [02:54]
9. AC DC - No Man's Land [03:39]
10. AC DC - Systems Down [03:12]
11. AC DC - Money Shot [03:05]
12. AC DC - Code Red [03:31]

Playing Time.........: 41:07
Total Size...........: 323,83 MB

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


..::OPIS::..

Nowa, limitowana, mocno rozszerzona i świetnie brzmiąca edycja drugiego albumu wydanego oryginalnie przez szwedzki Sonet w 1971 roku. Dla wielu fanów jest to szczytowe osiągnięcie zespołu i jeden z najważniejszych albumów skandynawskiego hard rocka początku lat 70. Na 'dwójce' zespół ponownie zaproponował intensywny, ciężki blues-rock z progresywnymi elementami a jednocześnie rozwinął pomysły z debiutu. Przez to brzmienie stało się cięższe, bardziej zwarte i jeszcze bardziej gitarowe. Płyta zawiera mnóstwo rozbudowanych, ekspresyjnych solówek, a sekcja rytmiczna grała jak klasyczne, wczesne brytyjskie power trio. Dodatkowo dołączono aż 27 minut (6 nagrań) materiału bonusowego: 2 nagrania z rzadkich singli oraz 4 doskonale brzmiące kawałki koncertowe z 1971 roku i wydane po latach na CD/LP 'November Live'! Ponownie wytwórnia Once Again wiernie zreprodukowała grafiki z oryginalnego, rozkładanego longplaya - po prostu nieobecne na starym wydaniu '2LP na 1CD'.

JL

Na drugim krążku zniknął fantastyczny flet, który zastąpiono okazjonalnymi partiami klawiszy (fortepian, organy). Z tego też powodu niektórzy uważają, że „dwójka” jest nieco słabsza. Moim zdaniem nic bardziej mylnego. Klawisze nie zaszkodziły zespołowi w utrzymaniu ciężkiego brzmienia. Mówi się, że listopad to najbardziej zapłakany miesiąc w roku. Kiedy za oknem, w czarną jak smoła nocą wyje wiatr, a deszcz bębni w szyby wystarczy iskra, mały płomyk w kominku, a smoła zmienia się w mleko. I tak jest właśnie z tymi klawiszami – dają płycie odrobinę ciepła i blasku. Tak jak na przykład w utworze „Sista resan” otwierającym płytę, gdzie liryczny, miękki fortepian idzie w parze z psychodeliczną gitarą. Cudeńko trwające ledwie dwie i pół minuty a ściska gardło. No, ale potem robi się już ciężko w stylu Black Sabbath („Men mitt hjärta ska vara gjort av sten”, „På väg” ), lub Hendrixa („Mina fotspår fylls av vatten”, „Mouchka”, „Ganska långt från Sergel”). I choć bas Stålbrandta nadal zapewnia połowę cudownie luźnego i ciężkiego brzmienia zespołu na płycie obok bluesa „En lång dag är över”, którego nie mogło zabraknąć pojawiło się też skoczne boogie („En ny tid är här”), a nawet dwie instrumentalne miniaturki: klimatyczna „Och så en morgon…” i żartobliwa „Asthamahgurchk”.

Zibi



..::TRACK-LIST::..

1. Sista Resan (Piano-Sylvia Olin) 2:29
2. Men Mitt Hjärta Ska Vara Gjort Av Sten 4:33
3. Asthamahgurchk - Den Fjottegangere 0:44
4. Mina Fotspår Fylls Av Vatten 5:01
5. En Lång Dag Är Över 6:10
6. Môuchkta (Drömmen Om Malin) 2:19
7. På Väg 7:19
8. Ganska Långt Från Sergel 3:12
9. Och Så En Morgon... 'Ibland Räcker Inte Bara Ord' 1:51
10. En Ny Tid Är Här 3:59

Bonus Tracks:
11. Tillbaks Till Stockholm (Single A-side, 1971) 3:41
12. En Ny Tid Är Här (Alternate Version, 1971) 4:33
13. Långt Från Sergel (Live) 4:00
14. Tillbaks Till Stockholm (Live) 4:05
15. Allt Genom Dig (Live) 7:37
16. Mouchta [Drömmen Om Malin] (Live) 2:35



..::OBSADA::..

Drums, Vocals - Björn Inge
Guitar - Richard Rolf
Bass, Vocals - Christer Stålbrandt
+
Piano, Organ, Producer - Georg Wadenius
Piano - Sylvia Olin (tracks: 1)



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


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

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


..::OPIS::..

Nowa, limitowana, mocno rozszerzona i świetnie brzmiąca edycja drugiego albumu wydanego oryginalnie przez szwedzki Sonet w 1971 roku. Dla wielu fanów jest to szczytowe osiągnięcie zespołu i jeden z najważniejszych albumów skandynawskiego hard rocka początku lat 70. Na 'dwójce' zespół ponownie zaproponował intensywny, ciężki blues-rock z progresywnymi elementami a jednocześnie rozwinął pomysły z debiutu. Przez to brzmienie stało się cięższe, bardziej zwarte i jeszcze bardziej gitarowe. Płyta zawiera mnóstwo rozbudowanych, ekspresyjnych solówek, a sekcja rytmiczna grała jak klasyczne, wczesne brytyjskie power trio. Dodatkowo dołączono aż 27 minut (6 nagrań) materiału bonusowego: 2 nagrania z rzadkich singli oraz 4 doskonale brzmiące kawałki koncertowe z 1971 roku i wydane po latach na CD/LP 'November Live'! Ponownie wytwórnia Once Again wiernie zreprodukowała grafiki z oryginalnego, rozkładanego longplaya - po prostu nieobecne na starym wydaniu '2LP na 1CD'.

JL

Na drugim krążku zniknął fantastyczny flet, który zastąpiono okazjonalnymi partiami klawiszy (fortepian, organy). Z tego też powodu niektórzy uważają, że „dwójka” jest nieco słabsza. Moim zdaniem nic bardziej mylnego. Klawisze nie zaszkodziły zespołowi w utrzymaniu ciężkiego brzmienia. Mówi się, że listopad to najbardziej zapłakany miesiąc w roku. Kiedy za oknem, w czarną jak smoła nocą wyje wiatr, a deszcz bębni w szyby wystarczy iskra, mały płomyk w kominku, a smoła zmienia się w mleko. I tak jest właśnie z tymi klawiszami – dają płycie odrobinę ciepła i blasku. Tak jak na przykład w utworze „Sista resan” otwierającym płytę, gdzie liryczny, miękki fortepian idzie w parze z psychodeliczną gitarą. Cudeńko trwające ledwie dwie i pół minuty a ściska gardło. No, ale potem robi się już ciężko w stylu Black Sabbath („Men mitt hjärta ska vara gjort av sten”, „På väg” ), lub Hendrixa („Mina fotspår fylls av vatten”, „Mouchka”, „Ganska långt från Sergel”). I choć bas Stålbrandta nadal zapewnia połowę cudownie luźnego i ciężkiego brzmienia zespołu na płycie obok bluesa „En lång dag är över”, którego nie mogło zabraknąć pojawiło się też skoczne boogie („En ny tid är här”), a nawet dwie instrumentalne miniaturki: klimatyczna „Och så en morgon…” i żartobliwa „Asthamahgurchk”.

Zibi



..::TRACK-LIST::..

1. Sista Resan (Piano-Sylvia Olin) 2:29
2. Men Mitt Hjärta Ska Vara Gjort Av Sten 4:33
3. Asthamahgurchk - Den Fjottegangere 0:44
4. Mina Fotspår Fylls Av Vatten 5:01
5. En Lång Dag Är Över 6:10
6. Môuchkta (Drömmen Om Malin) 2:19
7. På Väg 7:19
8. Ganska Långt Från Sergel 3:12
9. Och Så En Morgon... 'Ibland Räcker Inte Bara Ord' 1:51
10. En Ny Tid Är Här 3:59

Bonus Tracks:
11. Tillbaks Till Stockholm (Single A-side, 1971) 3:41
12. En Ny Tid Är Här (Alternate Version, 1971) 4:33
13. Långt Från Sergel (Live) 4:00
14. Tillbaks Till Stockholm (Live) 4:05
15. Allt Genom Dig (Live) 7:37
16. Mouchta [Drömmen Om Malin] (Live) 2:35



..::OBSADA::..

Drums, Vocals - Björn Inge
Guitar - Richard Rolf
Bass, Vocals - Christer Stålbrandt
+
Piano, Organ, Producer - Georg Wadenius
Piano - Sylvia Olin (tracks: 1)



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


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

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


..::OPIS::..

With their succession of mighty technical death metal albums, Allegaeon have continued to expand and improve their sound. Each subsequent release has seen the band evolve and mature while keeping the excitement present throughout their past discography. “Damnum” (which is Latin for “Loss”) is the logical next step that I believe many were anticipating and the title alone suggests a departure from their usual scientific/ dystopic themes in exchange for more personal subjects. These are translated through the abstract lyrics, cover art and of course the intensity of the music. On this record, Allegaeon are taking their blend of brutality, melody and extreme technical musicianship to the next level allowing no time to get distracted or lost in your thoughts. This album will engulf and assault you with every type of musical prowess the band can display.

Despite the constant intensity, “Damnum” stands out from most other death metal albums of similar calibre thanks to its complex but melodic guitar riffs which are handled by the virtuosity of Greg Burgess and Michael Stancel. Mesmerising guitar leads are present throughout the whole album and allow the listener to remain fully engaged in the music's flow. These leads provide the main melodies as they are superimposed to the harsh vocals that belt out the lyrics. Meanwhile the drums and bass lay the foundations for the power that “Damnum” demonstrates. The bass (played by Brandon Michael) is as dynamic as the guitars, the drumming of most recent member Jeff Saltzman is fast, technical but always precise and well structured so that the listener can easily latch onto the grooves and still be astonished by the musicianship. One of the big novelties of this record is the extended use of vocalist Riley McShane's clean singing which is a rarity in technical death metal but fits surprisingly well whenever this band incorporate it. While these were only used as a brief experimentation on their last album, in “Damnum” they're used more prominently even when the music is blasting at full power like in the awesome hook of the song “Of Beasts And Worms” or in the chorus of closing track “Only Loss” which is perhaps the most intense moment of clean singing.

The first five tracks are the kind of absolute bangers you'd expect from Allegaeon at this stage of their evolution but something feels particularly special about this specific group of opening songs. They embody a massive charge of musical vehemence laced with powerful rhythms, catchy guitar melodies and a few unexpected surprises here and there to serve such a buffet to your eardrums. I must highlight “To Carry My Grief Through Torpor And Silence” and “Vermin” which are exemplary tech death songs for you to release your energy to while admiring the intricate music. The prior is split by a wonderful acoustic guitar passage superimposed to a bass solo before the music builds into the spectacular guitar solo. That's just one of the many details that make Allegaeon's musical foundations shine even brighter. Things get more experimental but also more dramatic with “Called Home” and “The Dopamine Void”, the intensity breaks up to give way to songs that start slower and allow the band to show their progressive rock influences. Eventually these two songs evolve into their own madness with the second part of “The Dopamine Void” exploding into a full frenzy as Riley sings at his fastest pace.

The lyrics are obviously about personal issues and experiences but the specific subject matters are never too obvious since the slightly abstract writing leaves room for interpretation. The only exception is “Called Home” because the blunt lyrics of that song reveal the story behind it which I won't describe in this review in case there are sensitive people reading this. Despite this being the slowest song it has a huge build-up and remains the most spine-chilling moment of the record. It will give you goose bumps at the least and waterfalls coming out of your eyes at the most if you have the misfortune of relating to the themes in question. This sad mood is appropriately followed by “Blight” which is one of the more dissonant songs and “Saturnine” is another embellished tech-death banger that prepares you for the album's finale. A beautiful and moody interlude softly carries you towards the overwhelming “Only Loss”, a stomping behemoth that will leave you speechless as if you'd seen a ghost while Riley's final words “onlyyyyy loooossss” echo in your mind.

So Allegaeon have conjured all of their frustrations and turned them into strengths to share with their fans a collection of songs that sound like they came straight from the guts. This is where technical intensity meets emotion thanks to each member's musical talents and the group's ability to bring them together. The additional use of orchestrations, synths and piano help enhance the grandeur and expressive nature of the music. And last but not least I must salute Dave Otero who handled all the mixing and mastering process in a way that makes every musical element perceptible within the monstrous overall sound. It might be worth mentioning that he's also mixed the recent outputs by Aborted, Akhlys and Cattle Decapitation who, as you most likely know, all have a dense and overwhelming sound, I think that alone says enough about this man's skills. I was a bit sad to see Riley depart since he's had quite an evolution during his time with Allegaeon but the band are now reunited with their former vocalist Ezra Haynes and I have full confidence that whatever they put out next will be brilliant. “Damnum” still leaves a strong impact more than two years after its release and will remain a timeless album!

DBH20

I have been following Allegaeon since 2010, when they released their first album: Fragments of Form and Function, on Metal Blade Records. I was instantly a fan of their highly technical, yet super melodic sound. They had quite a few line up changes throughout the years but Greg Burgess is the only original member still in the band and I feel like no matter the changes, he has been the connective tissue that made Allegaeon who they are. After the release of Damnum, the band announced they were parting ways with vocalist Riley McShane, who provided vocals since Proponent for Sentience. It’s a real shame because he really shines brighter than a hot giant ball of gas collapsing in on itself, maintained by the constant nuclear fusion in its core. I can say with confidence that this is the most ambitious and musically diverse album the band ever did.

Damnum starts with the song Bastards of The Earth, which has a beautiful classical acoustic guitar intro. Nevertheless, it doesn’t stay calm for a long time, after a few second, they immediately erect a bombastic wall of sound, with every instruments in full gear, from the blast beats to the chunky guitar riff and the long, deep scream/growl of Riley. Everything hits you in the face perfectly, like any metal fan likes. After the middle mark, there is a beautiful break, with the signature classical guitar of Greg. Furthermore, not only is the music brilliant on this album, but the lyrical content should also be highlighted. Instead of focusing mainly on science and science fiction, like on their previous albums, they get a lot more personal and philosophical. While still having a little bit of those elements in. On Bastards Of The Earth, for example, we have these lines: “Thrust into a world akin to darkness, ruptured by the sun.” and “A spinning wheel that spells disaster - the circle growing deeper every day.” The world of darkness ruptured by the sun is obviously the world we live in today and I see the spinning wheel as a metaphor for our current capitalist system that gave us global warming and the disasters that it causes and will continue to cause.

This song, like all the other songs on this album, has a real proggy feel to it. What I mean by that is that almost every song is over five minutes long and they don’t necessarily have a traditional verse chorus verse chorus structure. Nevertheless, in true technical death metal fashion, there is so much solos everywhere. They definitely do not disappoint on that end. Rather than focusing only on the technical abilities, Greg Burgess is as much technical as he is melodic in his playing. I think he writes most of the music, but on Damnum, every member participated in the writing process, which sprinkles a lot of new and different ideas everywhere. A few examples would be the classical guitars, which is not a new idea for them, but is featured a lot more on this album. Greg is an incredible guitarist on both electric and classical guitars. Another example would be the beautiful and epic sounding piano solo on the song Blight or the classical prog rock organs playing in the background in the beginning of Of Beasts And Worms, or the classical guitars mixed with a tam tam rhythm on the song To Carry My Grief Through Torpor And Silence etc. You get the idea.

Of Beasts And Worms has the most catchy chorus of all of the album. Here, Riley McShane’s clean vocals are on full display. In the last two albums, we had a little taste of his beautiful clean vocals but never to this degree. His voice is so clear and pure, when he goes for higher notes, singing:” This is the place where I rest my bones and the river that cleanses me runs alone. To be there again where my spirit longs and sleep in the soil forevermore”, it gives me chills every time! I think these lyrics could be interpretated as someone who gives up fighting. I feel like these lyrics are more mature and darker, abording real subject matters. Musically, it feels almost as if Mikael Åkerfeldt himself wrote the song: the quieter clean guitars, the rock organs with a soft, spoken words section. (Spoiler alert, it is not the only time Opeth is a clear inspiration on this album.)

Without a doubt, the most Opeth sounding part on the album is on the song Called Home. It starts with a beautiful classical guitar picking and after a while, the drum beat starts slowly. I don’t know who made the recording and the mixing, but it is masterfully done! Everything sounds clean, but completely organic at the same time. We also get a bit of Gojira influences here and there. On the song Blight for example, it starts as a heavy technical death metal riff and drum patterns, but they add the signature “Gojira slide” here and there, which is a cool little musical easter egg. This has also a beautiful and quite long piano solo. It sounds like a grand piano, which makes the whole thing sound even more majestic!

I think I could go on and on talking about this album. After all, it was my favorite album of 2022 for a good reason. There are so much little things you don’t necessarily hear during your first listens. For example, on In Mourning, they adjusted the noisegate so that you can hear Greg’s breathing while he plays guitar. That subtitle touch is just one example of how meticulously crafted everything is. For a few years, it was evident that Allegaeon was going more and more on the prog side, with their many Rush covers, but on Damnum, they really nailed the mix of progressive, technical and melodic death metal blend. I can’t wait to see what they will offer next!

hellzora666



..::TRACK-LIST::..

1. Bastards of the Earth 04:32
2. Of Beasts and Worms 06:30
3. Into Embers 05:19
4. To Carry My Grief Through Torpor and Silence 05:19
5. Vermin 05:10
6. Called Home 07:40
7. Blight 05:01
8. The Dopamine Void, Pt. I 02:06
9. The Dopamine Void, Pt. II 05:01
10. Saturnine 04:41
11. In Mourning 01:51
12. Only Loss 06:53



..::OBSADA::..

Jeff Saltzman - Drums
Michael Stancel - Guitars
Riley McShane - Vocals
Brandon Michael - Bass
Greg Burgess - Guitars



https://www.youtube.com/watch?v=79pGsIxrNuc


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

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


..::OPIS::..

With their succession of mighty technical death metal albums, Allegaeon have continued to expand and improve their sound. Each subsequent release has seen the band evolve and mature while keeping the excitement present throughout their past discography. “Damnum” (which is Latin for “Loss”) is the logical next step that I believe many were anticipating and the title alone suggests a departure from their usual scientific/ dystopic themes in exchange for more personal subjects. These are translated through the abstract lyrics, cover art and of course the intensity of the music. On this record, Allegaeon are taking their blend of brutality, melody and extreme technical musicianship to the next level allowing no time to get distracted or lost in your thoughts. This album will engulf and assault you with every type of musical prowess the band can display.

Despite the constant intensity, “Damnum” stands out from most other death metal albums of similar calibre thanks to its complex but melodic guitar riffs which are handled by the virtuosity of Greg Burgess and Michael Stancel. Mesmerising guitar leads are present throughout the whole album and allow the listener to remain fully engaged in the music's flow. These leads provide the main melodies as they are superimposed to the harsh vocals that belt out the lyrics. Meanwhile the drums and bass lay the foundations for the power that “Damnum” demonstrates. The bass (played by Brandon Michael) is as dynamic as the guitars, the drumming of most recent member Jeff Saltzman is fast, technical but always precise and well structured so that the listener can easily latch onto the grooves and still be astonished by the musicianship. One of the big novelties of this record is the extended use of vocalist Riley McShane's clean singing which is a rarity in technical death metal but fits surprisingly well whenever this band incorporate it. While these were only used as a brief experimentation on their last album, in “Damnum” they're used more prominently even when the music is blasting at full power like in the awesome hook of the song “Of Beasts And Worms” or in the chorus of closing track “Only Loss” which is perhaps the most intense moment of clean singing.

The first five tracks are the kind of absolute bangers you'd expect from Allegaeon at this stage of their evolution but something feels particularly special about this specific group of opening songs. They embody a massive charge of musical vehemence laced with powerful rhythms, catchy guitar melodies and a few unexpected surprises here and there to serve such a buffet to your eardrums. I must highlight “To Carry My Grief Through Torpor And Silence” and “Vermin” which are exemplary tech death songs for you to release your energy to while admiring the intricate music. The prior is split by a wonderful acoustic guitar passage superimposed to a bass solo before the music builds into the spectacular guitar solo. That's just one of the many details that make Allegaeon's musical foundations shine even brighter. Things get more experimental but also more dramatic with “Called Home” and “The Dopamine Void”, the intensity breaks up to give way to songs that start slower and allow the band to show their progressive rock influences. Eventually these two songs evolve into their own madness with the second part of “The Dopamine Void” exploding into a full frenzy as Riley sings at his fastest pace.

The lyrics are obviously about personal issues and experiences but the specific subject matters are never too obvious since the slightly abstract writing leaves room for interpretation. The only exception is “Called Home” because the blunt lyrics of that song reveal the story behind it which I won't describe in this review in case there are sensitive people reading this. Despite this being the slowest song it has a huge build-up and remains the most spine-chilling moment of the record. It will give you goose bumps at the least and waterfalls coming out of your eyes at the most if you have the misfortune of relating to the themes in question. This sad mood is appropriately followed by “Blight” which is one of the more dissonant songs and “Saturnine” is another embellished tech-death banger that prepares you for the album's finale. A beautiful and moody interlude softly carries you towards the overwhelming “Only Loss”, a stomping behemoth that will leave you speechless as if you'd seen a ghost while Riley's final words “onlyyyyy loooossss” echo in your mind.

So Allegaeon have conjured all of their frustrations and turned them into strengths to share with their fans a collection of songs that sound like they came straight from the guts. This is where technical intensity meets emotion thanks to each member's musical talents and the group's ability to bring them together. The additional use of orchestrations, synths and piano help enhance the grandeur and expressive nature of the music. And last but not least I must salute Dave Otero who handled all the mixing and mastering process in a way that makes every musical element perceptible within the monstrous overall sound. It might be worth mentioning that he's also mixed the recent outputs by Aborted, Akhlys and Cattle Decapitation who, as you most likely know, all have a dense and overwhelming sound, I think that alone says enough about this man's skills. I was a bit sad to see Riley depart since he's had quite an evolution during his time with Allegaeon but the band are now reunited with their former vocalist Ezra Haynes and I have full confidence that whatever they put out next will be brilliant. “Damnum” still leaves a strong impact more than two years after its release and will remain a timeless album!

DBH20

I have been following Allegaeon since 2010, when they released their first album: Fragments of Form and Function, on Metal Blade Records. I was instantly a fan of their highly technical, yet super melodic sound. They had quite a few line up changes throughout the years but Greg Burgess is the only original member still in the band and I feel like no matter the changes, he has been the connective tissue that made Allegaeon who they are. After the release of Damnum, the band announced they were parting ways with vocalist Riley McShane, who provided vocals since Proponent for Sentience. It’s a real shame because he really shines brighter than a hot giant ball of gas collapsing in on itself, maintained by the constant nuclear fusion in its core. I can say with confidence that this is the most ambitious and musically diverse album the band ever did.

Damnum starts with the song Bastards of The Earth, which has a beautiful classical acoustic guitar intro. Nevertheless, it doesn’t stay calm for a long time, after a few second, they immediately erect a bombastic wall of sound, with every instruments in full gear, from the blast beats to the chunky guitar riff and the long, deep scream/growl of Riley. Everything hits you in the face perfectly, like any metal fan likes. After the middle mark, there is a beautiful break, with the signature classical guitar of Greg. Furthermore, not only is the music brilliant on this album, but the lyrical content should also be highlighted. Instead of focusing mainly on science and science fiction, like on their previous albums, they get a lot more personal and philosophical. While still having a little bit of those elements in. On Bastards Of The Earth, for example, we have these lines: “Thrust into a world akin to darkness, ruptured by the sun.” and “A spinning wheel that spells disaster - the circle growing deeper every day.” The world of darkness ruptured by the sun is obviously the world we live in today and I see the spinning wheel as a metaphor for our current capitalist system that gave us global warming and the disasters that it causes and will continue to cause.

This song, like all the other songs on this album, has a real proggy feel to it. What I mean by that is that almost every song is over five minutes long and they don’t necessarily have a traditional verse chorus verse chorus structure. Nevertheless, in true technical death metal fashion, there is so much solos everywhere. They definitely do not disappoint on that end. Rather than focusing only on the technical abilities, Greg Burgess is as much technical as he is melodic in his playing. I think he writes most of the music, but on Damnum, every member participated in the writing process, which sprinkles a lot of new and different ideas everywhere. A few examples would be the classical guitars, which is not a new idea for them, but is featured a lot more on this album. Greg is an incredible guitarist on both electric and classical guitars. Another example would be the beautiful and epic sounding piano solo on the song Blight or the classical prog rock organs playing in the background in the beginning of Of Beasts And Worms, or the classical guitars mixed with a tam tam rhythm on the song To Carry My Grief Through Torpor And Silence etc. You get the idea.

Of Beasts And Worms has the most catchy chorus of all of the album. Here, Riley McShane’s clean vocals are on full display. In the last two albums, we had a little taste of his beautiful clean vocals but never to this degree. His voice is so clear and pure, when he goes for higher notes, singing:” This is the place where I rest my bones and the river that cleanses me runs alone. To be there again where my spirit longs and sleep in the soil forevermore”, it gives me chills every time! I think these lyrics could be interpretated as someone who gives up fighting. I feel like these lyrics are more mature and darker, abording real subject matters. Musically, it feels almost as if Mikael Åkerfeldt himself wrote the song: the quieter clean guitars, the rock organs with a soft, spoken words section. (Spoiler alert, it is not the only time Opeth is a clear inspiration on this album.)

Without a doubt, the most Opeth sounding part on the album is on the song Called Home. It starts with a beautiful classical guitar picking and after a while, the drum beat starts slowly. I don’t know who made the recording and the mixing, but it is masterfully done! Everything sounds clean, but completely organic at the same time. We also get a bit of Gojira influences here and there. On the song Blight for example, it starts as a heavy technical death metal riff and drum patterns, but they add the signature “Gojira slide” here and there, which is a cool little musical easter egg. This has also a beautiful and quite long piano solo. It sounds like a grand piano, which makes the whole thing sound even more majestic!

I think I could go on and on talking about this album. After all, it was my favorite album of 2022 for a good reason. There are so much little things you don’t necessarily hear during your first listens. For example, on In Mourning, they adjusted the noisegate so that you can hear Greg’s breathing while he plays guitar. That subtitle touch is just one example of how meticulously crafted everything is. For a few years, it was evident that Allegaeon was going more and more on the prog side, with their many Rush covers, but on Damnum, they really nailed the mix of progressive, technical and melodic death metal blend. I can’t wait to see what they will offer next!

hellzora666



..::TRACK-LIST::..

1. Bastards of the Earth 04:32
2. Of Beasts and Worms 06:30
3. Into Embers 05:19
4. To Carry My Grief Through Torpor and Silence 05:19
5. Vermin 05:10
6. Called Home 07:40
7. Blight 05:01
8. The Dopamine Void, Pt. I 02:06
9. The Dopamine Void, Pt. II 05:01
10. Saturnine 04:41
11. In Mourning 01:51
12. Only Loss 06:53



..::OBSADA::..

Jeff Saltzman - Drums
Michael Stancel - Guitars
Riley McShane - Vocals
Brandon Michael - Bass
Greg Burgess - Guitars



https://www.youtube.com/watch?v=79pGsIxrNuc


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

Genre: Doom/Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 34:05
Availability of scans in the download: No

Tracklist:
01. Ascent To Godhood
02. Radioactivity Meter
03. Effigy Of An Obliterated God
04. Zeit Der Pest
05. Eternal Wanderer (Starless Void III)
06. Mgły Nocnych Mar
07. Starless Void II

..::INFO::..

---------------------------------------------------------------------
Ronnie Wood - Fearless [EP]
---------------------------------------------------------------------

Artist...............: Ronnie Wood
Album................: Fearless [EP]
Genre................: Rock
Source...............: WEB
Year.................: 2025-09-26
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: BMG

Included.............: NFO, M3U,
Covers...............: Front

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

1. Ronnie Wood - You're So Fine [02:41]
2. Ronnie Wood - Mother of Pearl [04:26]
3. Ronnie Wood - Take It Easy [03:38]
4. Chrissie Hynde - A Certain Girl (feat. Chrissie Hynde) [03:44]

Playing Time.........: 14:30
Total Size...........: 115,73 MB

..::INFO::..

---------------------------------------------------------------------
Ringo Starr - Long Long Road
---------------------------------------------------------------------

Artist...............: Ringo Starr
Album................: Long Long Road
Genre................: Rock, Folk, World, & Country
Source...............: CD
Year.................: 2026
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 64 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music

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

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

1. Ringo Starr - Returning Without Tears [02:23]
2. Ringo Starr - Baby Don't Go [03:41]
3. Ringo Starr - I Don't See Me In Your Eyes Anymore [02:52]
4. Ringo Starr - It's Been Too Long [02:42]
5. Ringo Starr - Why [02:50]
6. Ringo Starr - You and I (Wave of Love) [03:52]
7. Ringo Starr - My Baby Don't Want Nothing [04:11]
8. Ringo Starr - Choose Love [03:54]
9. Ringo Starr - She's Gone [03:18]
10. Ringo Starr - Long Long Road [03:39]

Playing Time.........: 33:25
Total Size...........: 216,19 MB

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


..::OPIS::..

First in an ongoing series of box sets celebrating the life and times of this incredible musician.

This 8CD collection includes John’s six solo albums, each with bonus material which have been fully remastered by Maor Appelbaum.

Also included are 2CDs of extremely rare and hard-to-find bonus material, especially curated by Rick Nelson, long-time Wetton archivist and John’s close friend. This material is a treasure trove of wonders for the true Wetton fan.

Presented in a 12x12” box, this collection also features an extensive 64 page book with notes written by Nick Shilton, author of John’s biography, An Extraordinary Life and artwork by Michael Inns, long-time friend and collaborator of John’s.

This box set has been carefully curated with the blessing of John’s wife Lisa and son Dylan and is released with the full support of the Wetton estate.

From his beginnings in the genre defining King Crimson, to the inventive, early prog supergroup UK, to the all-conquering prog-pop behemoth that was Asia and the many projects in-between, John Wetton was revered as a colossus of the progressive rock world.

Not only did he front three of the most successful progressive rock bands of all-time, John also enjoyed stints with Roxy Music, Family, Uriah Heep and Wishbone Ash. His list of collaborators is a veritable Who’s Who of the rock music world. In addition John released no fewer than six solo albums! Thus he is rightly seen as a true song writing visionary and one of the greatest bass players that ever lived.

From the committed prog connoisseur to the prog-pop fan of Asia, Wetton’s appeal is broad and deep. This extensive collection is the perfect entry point to appreciating and understanding the many colourful facets of John Wetton’s musical personality and is the perfect illustration of his extraordinary life.



..::TRACK-LIST::..

CD 1 - Caught In The Crossfire (1980):
1. Turn On The Radio
2. Baby Come Back
3. When Will You Realize?
4. Cold Is The Night
5. Paper Talk
6. Get Away
7. Caught In The Crossfire
8. Get What You Want
9. I'll Be There
10. Woman

Bonus Tracks:
11. Every Inch Of The Way
12. Out Of The Blue



..::OBSADA::..

Voice, Lead Guitar, Bass, Keyboards - John Wetton
Drums, Percussion - Simon Kirke
Lead Guitar - Martin Barre (tracks: 2, 3, 5, 10)
Saxophone – Malcolm Duncan (tracks: 7, 9)

Special Thanks to Phil Manzanera (Track 7)



https://www.youtube.com/watch?v=YTvKCc3Iubg


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

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


..::OPIS::..

First in an ongoing series of box sets celebrating the life and times of this incredible musician.

This 8CD collection includes John’s six solo albums, each with bonus material which have been fully remastered by Maor Appelbaum.

Also included are 2CDs of extremely rare and hard-to-find bonus material, especially curated by Rick Nelson, long-time Wetton archivist and John’s close friend. This material is a treasure trove of wonders for the true Wetton fan.

Presented in a 12x12” box, this collection also features an extensive 64 page book with notes written by Nick Shilton, author of John’s biography, An Extraordinary Life and artwork by Michael Inns, long-time friend and collaborator of John’s.

This box set has been carefully curated with the blessing of John’s wife Lisa and son Dylan and is released with the full support of the Wetton estate.

From his beginnings in the genre defining King Crimson, to the inventive, early prog supergroup UK, to the all-conquering prog-pop behemoth that was Asia and the many projects in-between, John Wetton was revered as a colossus of the progressive rock world.

Not only did he front three of the most successful progressive rock bands of all-time, John also enjoyed stints with Roxy Music, Family, Uriah Heep and Wishbone Ash. His list of collaborators is a veritable Who’s Who of the rock music world. In addition John released no fewer than six solo albums! Thus he is rightly seen as a true song writing visionary and one of the greatest bass players that ever lived.

From the committed prog connoisseur to the prog-pop fan of Asia, Wetton’s appeal is broad and deep. This extensive collection is the perfect entry point to appreciating and understanding the many colourful facets of John Wetton’s musical personality and is the perfect illustration of his extraordinary life.



..::TRACK-LIST::..

CD 1 - Caught In The Crossfire (1980):
1. Turn On The Radio
2. Baby Come Back
3. When Will You Realize?
4. Cold Is The Night
5. Paper Talk
6. Get Away
7. Caught In The Crossfire
8. Get What You Want
9. I'll Be There
10. Woman

Bonus Tracks:
11. Every Inch Of The Way
12. Out Of The Blue



..::OBSADA::..

Voice, Lead Guitar, Bass, Keyboards - John Wetton
Drums, Percussion - Simon Kirke
Lead Guitar - Martin Barre (tracks: 2, 3, 5, 10)
Saxophone – Malcolm Duncan (tracks: 7, 9)

Special Thanks to Phil Manzanera (Track 7)



https://www.youtube.com/watch?v=YTvKCc3Iubg


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

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


..::OPIS::..

New York, New York… the mighty metal hordes that you have raised… Anthrax, Overkill, Pro-Pain, Carnivore, Prong, Nuclear Assault, Riot, Helmet… need I go on? I don’t think so. How about these executioners here? Who were parading earlier as Executioner, the few songs they created under this moniker featured on the debut demo of the same title. The style during those early days was boisterous heavy/power metal remnants of which were still quite audible on the debut, a scattered, not very coherent blend of heavy, power, speed, and thrash that was still entertaining in its own charmingly dishevelled way.

Two years later the band hit with a sicker, which also means better, release, the one reviewed here. And they’ve tightened their act by leaps and bounds, concentrating on the speed/thrash side of the previously displayed conglomerate. The sound quality has also gone up, the production’s more polished, giving the guitars an articulate sharp click. For at least half the time the band just mosh with little remorse, unleashing vehement headbangers like "Horrors of the Mind" and “Another Chosen Life”, stirring mosh-pits left and right, trying to match the belligerence of their colleagues from the NYHC scene every bit of the way. There are a couple of intriguing spices offered here and there, too, like the surreal trippy Voivod-ish etude “Sexploitation”, above all, and the solid steady mid-pacer "I'm Sanctified". "Second Coming" is another deviation, a short lively power/thrash excursion, the guys winking at the Bay-Area on the other side of the country with the stylish semi-technical "No One to Pray To", a respectful reminder of Testament’s "Disciples of the Watch" from "The New Order".

That’s way more like it, the only sector that has remained unchanged being the vocal one; the guy retains his quite effective clean attached antics from the first instalment, recalling both Russ Anderson (Forbidden) and Joey Belladonna (Anthrax). In the long run, one shouldn’t be spitting over the guys too much regarding their not very focused first endeavour as similar upgrade transformations (Helstar, Attacker, Heathen, Nasty Savage, etc.) were not such an uncommon phenomenon on the US scene. And, they got it right the second time around, producing this exhilarating old school thrashing beast that added another plus in their hometown’s impressive resume.

The band disappeared in the early-90’s alongside myriad other 80’s-spawned practitioners, as the tides were shifting, and not all of these cohorts were ready and willing to embrace the numetal trends. We roll a quarter of a century forward, and we see the band guitarists Adam Marigliano and Rui Tavora joining forces again in the new millennium, parading as anti-heroes, also eager to capitalize on the still ongoing old school resurrection campaign. Ha, and this is where the big joke comes: our friends have inexplicably turned into groovy/cheesy glam/grunge rockers, betraying all their classic metal ideas for a cupful of toffee… no speed, no thrash, not even power… a shameful new beginning, a genuine false start, and a most exemplary flop.

But they will rise; I have faith in them… the executioners will start beheading and decapitating again; they just need to sharpen their axes some more… and to start subjecting their will to sicker and sicker thoughts.

bayern



..::TRACK-LIST::..

1. Three Years Later/Dismembered 5:32
2. Another Chosen Life 4:34
3. Sexploitation 3:08
4. Innocent Betrayal 3:44
5. Chamber Of Sorrow 4:23
6. Second Coming 2:51
7. Horrors Of The Mind 4:45
8. No One To Pray To 4:05
9. I'm Sanctified 4:47
10. Infected 3:46



..::OBSADA::..

Vocals - Tommy Lee Haley
Guitar - Adam Marigliano, Rui Tavora
Bass Guitar - Gus Silva
Drums - Billy Gerdes



https://www.youtube.com/watch?v=vnscdw3TrKs


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

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


..::OPIS::..

New York, New York… the mighty metal hordes that you have raised… Anthrax, Overkill, Pro-Pain, Carnivore, Prong, Nuclear Assault, Riot, Helmet… need I go on? I don’t think so. How about these executioners here? Who were parading earlier as Executioner, the few songs they created under this moniker featured on the debut demo of the same title. The style during those early days was boisterous heavy/power metal remnants of which were still quite audible on the debut, a scattered, not very coherent blend of heavy, power, speed, and thrash that was still entertaining in its own charmingly dishevelled way.

Two years later the band hit with a sicker, which also means better, release, the one reviewed here. And they’ve tightened their act by leaps and bounds, concentrating on the speed/thrash side of the previously displayed conglomerate. The sound quality has also gone up, the production’s more polished, giving the guitars an articulate sharp click. For at least half the time the band just mosh with little remorse, unleashing vehement headbangers like "Horrors of the Mind" and “Another Chosen Life”, stirring mosh-pits left and right, trying to match the belligerence of their colleagues from the NYHC scene every bit of the way. There are a couple of intriguing spices offered here and there, too, like the surreal trippy Voivod-ish etude “Sexploitation”, above all, and the solid steady mid-pacer "I'm Sanctified". "Second Coming" is another deviation, a short lively power/thrash excursion, the guys winking at the Bay-Area on the other side of the country with the stylish semi-technical "No One to Pray To", a respectful reminder of Testament’s "Disciples of the Watch" from "The New Order".

That’s way more like it, the only sector that has remained unchanged being the vocal one; the guy retains his quite effective clean attached antics from the first instalment, recalling both Russ Anderson (Forbidden) and Joey Belladonna (Anthrax). In the long run, one shouldn’t be spitting over the guys too much regarding their not very focused first endeavour as similar upgrade transformations (Helstar, Attacker, Heathen, Nasty Savage, etc.) were not such an uncommon phenomenon on the US scene. And, they got it right the second time around, producing this exhilarating old school thrashing beast that added another plus in their hometown’s impressive resume.

The band disappeared in the early-90’s alongside myriad other 80’s-spawned practitioners, as the tides were shifting, and not all of these cohorts were ready and willing to embrace the numetal trends. We roll a quarter of a century forward, and we see the band guitarists Adam Marigliano and Rui Tavora joining forces again in the new millennium, parading as anti-heroes, also eager to capitalize on the still ongoing old school resurrection campaign. Ha, and this is where the big joke comes: our friends have inexplicably turned into groovy/cheesy glam/grunge rockers, betraying all their classic metal ideas for a cupful of toffee… no speed, no thrash, not even power… a shameful new beginning, a genuine false start, and a most exemplary flop.

But they will rise; I have faith in them… the executioners will start beheading and decapitating again; they just need to sharpen their axes some more… and to start subjecting their will to sicker and sicker thoughts.

bayern



..::TRACK-LIST::..

1. Three Years Later/Dismembered 5:32
2. Another Chosen Life 4:34
3. Sexploitation 3:08
4. Innocent Betrayal 3:44
5. Chamber Of Sorrow 4:23
6. Second Coming 2:51
7. Horrors Of The Mind 4:45
8. No One To Pray To 4:05
9. I'm Sanctified 4:47
10. Infected 3:46



..::OBSADA::..

Vocals - Tommy Lee Haley
Guitar - Adam Marigliano, Rui Tavora
Bass Guitar - Gus Silva
Drums - Billy Gerdes



https://www.youtube.com/watch?v=vnscdw3TrKs


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

Genre: Progressive Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 54:59
Availability of scans in the download: No

Tracklist:
01. Aphasia
02. Kneel
03. Feathers
04. Heirloom
05. Constant (Feat. Natalia Zimecka)
06. They Fall
07. Burial Of The Friend
08. Starless

...( Info )...

Artist: Rita Ora
Title: ORA
Year: 2012
Genre: Pop
Publisher (label): Roc Nation Records, LLC
Duration: 00:56:46
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. Facemelt (00:01:33)
02. Roc The Life (00:04:01)
03. How We Do (Party) (00:04:07)
04. R.I.P. (00:03:48)
05. Radioactive (00:04:11)
06. Shine Ya Light (00:03:31)
07. Love And War (00:03:35)
08. Uneasy (00:03:02)
09. Fall In Love (00:04:14)
10. Been Lying (00:03:45)
11. Hello, Hi, Goodbye (00:03:58)
12. Hot Right Now (00:03:02)
13. Crazy Girl (00:03:36)
14. Young, Single & Sexy (00:03:46)
15. Meet Ya (00:02:17)
16. How We Do (Party) (Acoustic) (00:04:20)

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


..::OPIS::..

Wydany we wrześniu 1971 roku kapitalny, drugi album progresywnych Niemców mocno przypominał mocno jethrotullowski (z domieszką Pink Floyd i Colosseum) debiut (ponownie 6 utworów trwających blisko 50 minut), ale był dziełem nieco bardziej jazzującym, jeszcze bardziej zainspirowanym twórczością uwielbianej i bardzo wpływowej w Niemczech grupy Colosseum. To jest kolejny CD bez żadnych wypełniaczy! Tak, jak na genialnym debiucie, dołączono 3 koncertowe utwory (z włoskiego Palermo z maja 1972) trwające razem 30 minut! Doskonały dźwięk - nieco klarowniejszy niż na dawnej edycji Ohrwashl z 1991, no i płyta zawiera fajniejszy booklet ponownie gromadzący kilka rzadkich zdjęć tego kapitalnego zespołu!

UWAGA! Umieszczony na końcu płyty krótki dźwięk zegara z kukułką pojawiał się zawsze na koniec każdej winylowej strony albumów wytwórni Kuckuck a dotychczas nie był uwzględniany!

JL

Niemiecki zespół Out of Focus swoją nazwę zaczerpnął od tytułu utworu grupy Blue Cheer, z kultowego albumu "Vincebus Eruptum". Nie jest to jednak dobry trop, jeśli chodzi o muzyczne inspiracje. Twórczość zespołu najłatwiej określić za pomocą terminu krautrock. Chcąc być bardziej precyzyjnym, należałoby uściślić, że grupa w mniej więcej równym stopniu czerpała z brytyjskiego proga, hard rocka i bluesa, dodając do tego odrobinę psychodelii i folku, by z czasem zwrócić się w bardziej jazzrockowymowym kierunku. W składzie, oprócz oczywiście gitarzysty, basisty i perkusisty, był także klawiszowiec i (pełniący również obowiązki wokalisty) flecista.

Debiutancki album Out of Focus, "Wake Up!", ukazał się pod koniec 1970 roku i przyniósł bardzo jednorodną muzykę na pograniczu blues rocka (partie gitary), hard rocka w stylu Deep Purple (organy elektryczne) i folku (flet). Longplay ma raczej luźny, jamowy charakter, jednak improwizacje muzyków są pozbawione kreatywności. Muzycy poczynili znaczne postępy na swoim kolejnym wydawnictwie, zatytułowanym po prostu "Out of Focus". To wciąż bardzo swobodne granie, ale znacznie ciekawsze. Instrumentarium poszerzyło się o saksofon i pianino, co jakby automatycznie popchnęło muzyków w bardziej jazzowe rejony. Może i nie mają oni szczególnie wielkich umiejętności improwizatorskich, ale słucha się tego naprawdę fantastycznie. Gitarzysta i klawiszowiec grają bardziej kreatywnie i różnorodnie, niż na poprzednim albumie, a sekcja rytmiczna zapewnia im niebanalny akompaniament. Dobrą wiadomością jest też to, że Moran Neumüller tym razem skupia się głównie na grze na saksofonie (lub, rzadziej, flecie), zamiast na śpiewaniu, bo jego wokal jest zdecydowanie najsłabszym ogniwem zespołu.

Cieszy także większa różnorodność kompozycji. W otwierającym całość, energetycznym "What Can a Poor Boy Do (But to Be a Streetfighting Man)" słychać jeszcze purplowe naleciałości debiutu, choć gra muzyków jakby stała się bardziej wyrafinowana, a długie solówki saksofonu i mocno jazzujące przełamanie w drugiej połowie jednoznacznie pokazują w jakim kierunku muzycy postanowili się rozwijać. W "It's Your Life" zespół całkowicie zmienia klimat - to bardziej piosenkowy utwór, w którym partie gitary akustycznej i fletu dodają folkowego klimatu. "Whispering" po niezbyt obiecującym wstępie, zmienia się w fantastyczny, jazz-krautowy popis instrumentalny, zyskujący z każdą minutą. "Blue Sunday Morning" wyróżnia się bardziej wyrazistą melodią i świetnym, folkowo-psychodelicznym klimatem (trochę w stylu wczesnego Pink Floyd). Partie fletu, organów, basu i perkusji są naprawdę dobre, a nawet partia wokalna wypada wyjątkowo udanie. Szkoda tylko, że wyczekiwany od początku punkt kulminacyjny nie nadchodzi, a zamiast tego otrzymujemy pozbawione kreatywności przedłużanie. Utwór mógłby być o połowę krótszy i tylko by na tym zyskał. Zespół rehabilituje się naprawdę zgrabnym, balladowym "Fly Bird Fly", w którym nie ma ani jednego zbędnego dźwięku. Finałowy "Television Program" z początku jest dość nudny, przegadany. Kiedy jednak Neumüller milknie i zaczynają się solowe popisy instrumentalistów o jazzowym zabarwieniu, robi się naprawdę przyjemnie.

Choć słuchając "Out of Focus" można odnieść wrażenie, że muzycy nieco przecenili swoje umiejętności, jest to naprawdę udany album. A byłby jeszcze lepszy, gdyby go skrócić o fragmenty obnażające kompozytorską nieporadność muzyków (wstęp "Whispering", druga połowa "Blue Sunday Morning" i wokalna część "Television Program"). Polecam wszystkim wielbicielom muzyki z tamtego okresu, przede wszystkim tej opartej na długich improwizacjach.

Paweł Pałasz

With an unchanged line-up, OOF focus progressed immensely from their psyched-out prog rock by adding a jazz dimension that will make itself present through Moran's newly developed sax playing. This added dimension will give OOF such a wider spectrum that their excellent debut album will be dwarfed by this monster follow-up. Strangely enough their jazzy impulses show in the Tull (This Was) or TYA (Ten Years After) mode, rather than a complete jazz-rock ala Mahavishnu or brassy rock ala Colosseum or Warm Dust. Charged with an awesome abstract artwork, this baby is again released with the now-legendary Kuckuck label.
The album starts energetically enough with the hard driving What Can a Poor Boy do, but where you expect a flute, Moran pulls out his new sax and blows one mean solo, having us wonder how he mastered it so easily so quickly. Indeed, even in the short stop and go section, he follows no problems and has enough guts to follow it with a last bravado before Wisheu's bass intervention change into a call and response between Drechsler's guitar first, than alternatively organ, sax and guitar before resuming the 100 mph rock driving rhythm. What a minor tour de force!! The absolutely delightful folk-laden (induced by a spellbinding guitar but also an enchanting flute) It's Your Life is an incredible joy to your eardrums, somehow reminding of Traffic's John Barleycorn. The 13-min+ slow-developing Whispering is a combination of explosion of sounds, from a propelling organ and discreet piano, a soaring & searing guitar, an very explorative bass, wild drumming and Moran's new saxophone madness. Again the jazz tonalities are really more in the TYA mode than the pure jazz-rock deal, but the whole thing is damn progressive and once again the band show their impressive talent at light improvisation and the tail end fade out is a pure bit of heaven.

Then flipside starts on the folky Blue Sunday Morning, starting on a mad drum march with a flute-and-organ unison and Moran's sinister voice being the master of ceremony. Behind all this, Drechsler's near satanic guitar arpeggios are what makes the track so spellbinding. The bass picks up late in the track and by that time the song has veered completely psychedelic and the tension is really palpable in the building crescendo leading to the surprisingly absent climax. Nevertheless, another minor tour de force. The next track is a linked up duo starting with Fly Bird Fly and a very Traffic-like flute leading to some superb Greenslade-like organ parts and sweet guitar lines slowly leading into the second part of track Television Program, which is plenty excellent as well and comes the album's apex with the depicting the boredom of the truckload of images breaking the floodgates from the cathode tube into your brains and wondering on the consequences. This last part can be reminiscent of their debut Wake Up album.

This band is a mystery on how they never made it big and they would have, had they been British or American. An absolute find, a must -hear, your musical education cannot be complete without having heard this group (I am slightly exaggerating on the last point but it is for the CAUSE), your life will definitely more complete and fulfilled if you know of them, your sexual impulses will be multiplied by a thousand if you have at least heard of them, you will live to 200 years of age if you are even aware of their existence - I've never been so serious in my life. LISTEN TO THIS, you progheads!!!!!!!!!!

Sean Trane

I prefer their debut "Wake Up !" to this their self titled follow up, but both are excellent. The Jazz flavour is starting to come into their sound on this one. It will get stronger with later albums. I think their calling card on this album is the way they jam, and check out the cover art ! Very cool.
"What Can A Poor Boy Do(But To Be A Streetfighting Man)" is uptempo with vocals. I was going to mention in my review of their debut that the singer really reminds me of Mick Jagger. That is confirmed throughout this album. A raging sax solo after a minute. An organ solo 2 1/2 minutes in as sax comes back and joins in. A bass solo after 3 minutes as it calms right down. Guitar and organ come and go as sax plays on.Then they just jam. Great tune. "It's Your Life" opens with gentle guitar and reserved vocals. Bass comes in as organ comes and goes. Flute 2 minutes in this laid back tune. Piano before 3 minutes.They just continue to play taking turns. "Whispering" opens with organ and whispered vocals. Sax plays tastefully before drums and guitar arrive a minute in as the sound builds. The sax is prominant after 2 minutes.The guitar takes the lead after 4 minutes as the sound gets louder. This trippy sound goes on and on as they jam. Love the guitar but it takes a backseat after 7 minutes. Sax takes the lead after 9 minutes. The song settles down a minute later to the end.

"Blue Sunday Morning" opens with drums, bass then flute.The flute is a real highlight on this one. Vocals,guitar and organ come in.This sounds so good even if the lyrics are a little out there.You know like Jesus rolling a joint in paradise and wanting to go back to earth because he misses drinking and smoking(which he apparently is doing in heaven anyway). The organ 4 minutes in is fantastic for a minute. Vocals after 5 minutes get passionate with more great bass and powerful organ. "Fly Bird Fly" opens with flute before a full sound, then vocals a minute in. Nice organ work 2 minutes in as bass throbs. Guitar before 3 minutes is tasteful. Cool song. "Television Program" opens with flute like the previous song. Gentle guitar, light drums and bass join in. The vocals arrive 1 1/2 minutes in.The lyrics are meaningful.The sound is building 2 1/2 minutes in. Organ a minute later. It settles down 4 minutes in as vocals are spoken. More tasteful guitar after 5 minutes with organ a minute later. A full sound with sax before 8 minutes.The tempo then picks up with guitar as they jam to the end.

This one doesn't grab me at all like their debut does. Still a 4 star record though as it is very enjoyable throughout.

Mellotron Storm



..::TRACK-LIST::..

1. What Can a Poor Boy Do 5:50
2. It's Your Life 4:28
3. Whispering 13:32
4. Blue Sunday Morning 8:18
5. Fly Bird Fly 5:08
6. Television Program 11:49

Bonus Tracks:
7. Where Is Your Home Town 8:39
8. Fly Bird Fly/Television Program 20:30

Track 7-8 Recorded Live in Palermo, Italy on 26th May 1972)



..::OBSADA::..

Remingius Drechsler - guitars, stylophone, tenor saxophone, flutes, voice
Hennes Hering - organ, piano
Moran Neumüller - soprano saxophone, vocals
Klaus Spöri - drums
Stephen Wishen - bass



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


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

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


..::OPIS::..

Wydany we wrześniu 1971 roku kapitalny, drugi album progresywnych Niemców mocno przypominał mocno jethrotullowski (z domieszką Pink Floyd i Colosseum) debiut (ponownie 6 utworów trwających blisko 50 minut), ale był dziełem nieco bardziej jazzującym, jeszcze bardziej zainspirowanym twórczością uwielbianej i bardzo wpływowej w Niemczech grupy Colosseum. To jest kolejny CD bez żadnych wypełniaczy! Tak, jak na genialnym debiucie, dołączono 3 koncertowe utwory (z włoskiego Palermo z maja 1972) trwające razem 30 minut! Doskonały dźwięk - nieco klarowniejszy niż na dawnej edycji Ohrwashl z 1991, no i płyta zawiera fajniejszy booklet ponownie gromadzący kilka rzadkich zdjęć tego kapitalnego zespołu!

UWAGA! Umieszczony na końcu płyty krótki dźwięk zegara z kukułką pojawiał się zawsze na koniec każdej winylowej strony albumów wytwórni Kuckuck a dotychczas nie był uwzględniany!

JL

Niemiecki zespół Out of Focus swoją nazwę zaczerpnął od tytułu utworu grupy Blue Cheer, z kultowego albumu "Vincebus Eruptum". Nie jest to jednak dobry trop, jeśli chodzi o muzyczne inspiracje. Twórczość zespołu najłatwiej określić za pomocą terminu krautrock. Chcąc być bardziej precyzyjnym, należałoby uściślić, że grupa w mniej więcej równym stopniu czerpała z brytyjskiego proga, hard rocka i bluesa, dodając do tego odrobinę psychodelii i folku, by z czasem zwrócić się w bardziej jazzrockowymowym kierunku. W składzie, oprócz oczywiście gitarzysty, basisty i perkusisty, był także klawiszowiec i (pełniący również obowiązki wokalisty) flecista.

Debiutancki album Out of Focus, "Wake Up!", ukazał się pod koniec 1970 roku i przyniósł bardzo jednorodną muzykę na pograniczu blues rocka (partie gitary), hard rocka w stylu Deep Purple (organy elektryczne) i folku (flet). Longplay ma raczej luźny, jamowy charakter, jednak improwizacje muzyków są pozbawione kreatywności. Muzycy poczynili znaczne postępy na swoim kolejnym wydawnictwie, zatytułowanym po prostu "Out of Focus". To wciąż bardzo swobodne granie, ale znacznie ciekawsze. Instrumentarium poszerzyło się o saksofon i pianino, co jakby automatycznie popchnęło muzyków w bardziej jazzowe rejony. Może i nie mają oni szczególnie wielkich umiejętności improwizatorskich, ale słucha się tego naprawdę fantastycznie. Gitarzysta i klawiszowiec grają bardziej kreatywnie i różnorodnie, niż na poprzednim albumie, a sekcja rytmiczna zapewnia im niebanalny akompaniament. Dobrą wiadomością jest też to, że Moran Neumüller tym razem skupia się głównie na grze na saksofonie (lub, rzadziej, flecie), zamiast na śpiewaniu, bo jego wokal jest zdecydowanie najsłabszym ogniwem zespołu.

Cieszy także większa różnorodność kompozycji. W otwierającym całość, energetycznym "What Can a Poor Boy Do (But to Be a Streetfighting Man)" słychać jeszcze purplowe naleciałości debiutu, choć gra muzyków jakby stała się bardziej wyrafinowana, a długie solówki saksofonu i mocno jazzujące przełamanie w drugiej połowie jednoznacznie pokazują w jakim kierunku muzycy postanowili się rozwijać. W "It's Your Life" zespół całkowicie zmienia klimat - to bardziej piosenkowy utwór, w którym partie gitary akustycznej i fletu dodają folkowego klimatu. "Whispering" po niezbyt obiecującym wstępie, zmienia się w fantastyczny, jazz-krautowy popis instrumentalny, zyskujący z każdą minutą. "Blue Sunday Morning" wyróżnia się bardziej wyrazistą melodią i świetnym, folkowo-psychodelicznym klimatem (trochę w stylu wczesnego Pink Floyd). Partie fletu, organów, basu i perkusji są naprawdę dobre, a nawet partia wokalna wypada wyjątkowo udanie. Szkoda tylko, że wyczekiwany od początku punkt kulminacyjny nie nadchodzi, a zamiast tego otrzymujemy pozbawione kreatywności przedłużanie. Utwór mógłby być o połowę krótszy i tylko by na tym zyskał. Zespół rehabilituje się naprawdę zgrabnym, balladowym "Fly Bird Fly", w którym nie ma ani jednego zbędnego dźwięku. Finałowy "Television Program" z początku jest dość nudny, przegadany. Kiedy jednak Neumüller milknie i zaczynają się solowe popisy instrumentalistów o jazzowym zabarwieniu, robi się naprawdę przyjemnie.

Choć słuchając "Out of Focus" można odnieść wrażenie, że muzycy nieco przecenili swoje umiejętności, jest to naprawdę udany album. A byłby jeszcze lepszy, gdyby go skrócić o fragmenty obnażające kompozytorską nieporadność muzyków (wstęp "Whispering", druga połowa "Blue Sunday Morning" i wokalna część "Television Program"). Polecam wszystkim wielbicielom muzyki z tamtego okresu, przede wszystkim tej opartej na długich improwizacjach.

Paweł Pałasz

With an unchanged line-up, OOF focus progressed immensely from their psyched-out prog rock by adding a jazz dimension that will make itself present through Moran's newly developed sax playing. This added dimension will give OOF such a wider spectrum that their excellent debut album will be dwarfed by this monster follow-up. Strangely enough their jazzy impulses show in the Tull (This Was) or TYA (Ten Years After) mode, rather than a complete jazz-rock ala Mahavishnu or brassy rock ala Colosseum or Warm Dust. Charged with an awesome abstract artwork, this baby is again released with the now-legendary Kuckuck label.
The album starts energetically enough with the hard driving What Can a Poor Boy do, but where you expect a flute, Moran pulls out his new sax and blows one mean solo, having us wonder how he mastered it so easily so quickly. Indeed, even in the short stop and go section, he follows no problems and has enough guts to follow it with a last bravado before Wisheu's bass intervention change into a call and response between Drechsler's guitar first, than alternatively organ, sax and guitar before resuming the 100 mph rock driving rhythm. What a minor tour de force!! The absolutely delightful folk-laden (induced by a spellbinding guitar but also an enchanting flute) It's Your Life is an incredible joy to your eardrums, somehow reminding of Traffic's John Barleycorn. The 13-min+ slow-developing Whispering is a combination of explosion of sounds, from a propelling organ and discreet piano, a soaring & searing guitar, an very explorative bass, wild drumming and Moran's new saxophone madness. Again the jazz tonalities are really more in the TYA mode than the pure jazz-rock deal, but the whole thing is damn progressive and once again the band show their impressive talent at light improvisation and the tail end fade out is a pure bit of heaven.

Then flipside starts on the folky Blue Sunday Morning, starting on a mad drum march with a flute-and-organ unison and Moran's sinister voice being the master of ceremony. Behind all this, Drechsler's near satanic guitar arpeggios are what makes the track so spellbinding. The bass picks up late in the track and by that time the song has veered completely psychedelic and the tension is really palpable in the building crescendo leading to the surprisingly absent climax. Nevertheless, another minor tour de force. The next track is a linked up duo starting with Fly Bird Fly and a very Traffic-like flute leading to some superb Greenslade-like organ parts and sweet guitar lines slowly leading into the second part of track Television Program, which is plenty excellent as well and comes the album's apex with the depicting the boredom of the truckload of images breaking the floodgates from the cathode tube into your brains and wondering on the consequences. This last part can be reminiscent of their debut Wake Up album.

This band is a mystery on how they never made it big and they would have, had they been British or American. An absolute find, a must -hear, your musical education cannot be complete without having heard this group (I am slightly exaggerating on the last point but it is for the CAUSE), your life will definitely more complete and fulfilled if you know of them, your sexual impulses will be multiplied by a thousand if you have at least heard of them, you will live to 200 years of age if you are even aware of their existence - I've never been so serious in my life. LISTEN TO THIS, you progheads!!!!!!!!!!

Sean Trane

I prefer their debut "Wake Up !" to this their self titled follow up, but both are excellent. The Jazz flavour is starting to come into their sound on this one. It will get stronger with later albums. I think their calling card on this album is the way they jam, and check out the cover art ! Very cool.
"What Can A Poor Boy Do(But To Be A Streetfighting Man)" is uptempo with vocals. I was going to mention in my review of their debut that the singer really reminds me of Mick Jagger. That is confirmed throughout this album. A raging sax solo after a minute. An organ solo 2 1/2 minutes in as sax comes back and joins in. A bass solo after 3 minutes as it calms right down. Guitar and organ come and go as sax plays on.Then they just jam. Great tune. "It's Your Life" opens with gentle guitar and reserved vocals. Bass comes in as organ comes and goes. Flute 2 minutes in this laid back tune. Piano before 3 minutes.They just continue to play taking turns. "Whispering" opens with organ and whispered vocals. Sax plays tastefully before drums and guitar arrive a minute in as the sound builds. The sax is prominant after 2 minutes.The guitar takes the lead after 4 minutes as the sound gets louder. This trippy sound goes on and on as they jam. Love the guitar but it takes a backseat after 7 minutes. Sax takes the lead after 9 minutes. The song settles down a minute later to the end.

"Blue Sunday Morning" opens with drums, bass then flute.The flute is a real highlight on this one. Vocals,guitar and organ come in.This sounds so good even if the lyrics are a little out there.You know like Jesus rolling a joint in paradise and wanting to go back to earth because he misses drinking and smoking(which he apparently is doing in heaven anyway). The organ 4 minutes in is fantastic for a minute. Vocals after 5 minutes get passionate with more great bass and powerful organ. "Fly Bird Fly" opens with flute before a full sound, then vocals a minute in. Nice organ work 2 minutes in as bass throbs. Guitar before 3 minutes is tasteful. Cool song. "Television Program" opens with flute like the previous song. Gentle guitar, light drums and bass join in. The vocals arrive 1 1/2 minutes in.The lyrics are meaningful.The sound is building 2 1/2 minutes in. Organ a minute later. It settles down 4 minutes in as vocals are spoken. More tasteful guitar after 5 minutes with organ a minute later. A full sound with sax before 8 minutes.The tempo then picks up with guitar as they jam to the end.

This one doesn't grab me at all like their debut does. Still a 4 star record though as it is very enjoyable throughout.

Mellotron Storm



..::TRACK-LIST::..

1. What Can a Poor Boy Do 5:50
2. It's Your Life 4:28
3. Whispering 13:32
4. Blue Sunday Morning 8:18
5. Fly Bird Fly 5:08
6. Television Program 11:49

Bonus Tracks:
7. Where Is Your Home Town 8:39
8. Fly Bird Fly/Television Program 20:30

Track 7-8 Recorded Live in Palermo, Italy on 26th May 1972)



..::OBSADA::..

Remingius Drechsler - guitars, stylophone, tenor saxophone, flutes, voice
Hennes Hering - organ, piano
Moran Neumüller - soprano saxophone, vocals
Klaus Spöri - drums
Stephen Wishen - bass



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


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

..::INFO::..

---------------------------------------------------------------------
Led Zeppelin - BBC Sessions - (2 CD)
---------------------------------------------------------------------

Artist...............: Led Zeppelin
Album................: BBC Sessions
Genre................: Rock
Source...............: CD
Year.................: 1997
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63-70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Atlantic

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

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

1. Led Zeppelin - You Shook Me [05:15]
2. Led Zeppelin - I Can't Quit You Baby [04:23]
3. Led Zeppelin - Communication Breakdown [03:12]
4. Led Zeppelin - Dazed and Confused [06:41]
5. Led Zeppelin - The Girl I Love She Got Long Black Wavy Hair[03:03]
6. Led Zeppelin - What Is and What Should Never Be [04:20]
7. Led Zeppelin - Communication Breakdown [02:41]
8. Led Zeppelin - Travelling Riverside Blues [05:12]
9. Led Zeppelin - Whole Lotta Love [06:13]
10. Led Zeppelin - Somethin' Else [02:07]
11. Led Zeppelin - Communication Breakdown [03:05]
12. Led Zeppelin - I Can't Quit You Baby [06:20]
13. Led Zeppelin - You Shook Me [10:19]
14. Led Zeppelin - How Many More Times [11:50]

Playing Time.........: 01:14:47
Total Size...........: 519,72 MB

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

1. Led Zeppelin - Immigrant Song [03:20]
2. Led Zeppelin - Heartbreaker [05:16]
3. Led Zeppelin - Since I've Been Loving You [06:56]
4. Led Zeppelin - Black Dog [05:17]
5. Led Zeppelin - Dazed and Confused [18:36]
6. Led Zeppelin - Stairway to Heaven [08:49]
7. Led Zeppelin - Going to California [03:54]
8. Led Zeppelin - That's the Way [05:43]
9. Led Zeppelin - Whole Lotta Love Medley [13:45]
9a Whole Lotta Love
9b Boogie Chillun'
9c Fixin' To Die
9d That's Alright Mama
9e A Mess Of Blues
10. Led Zeppelin - Thank You [06:37]

Playing Time.........: 01:18:16
Total Size...........: 497,15 MB

Disc 1:
Tracks 1, 2, 4: recorded 03.03.1969, Top Gear
Tracks 3, 5, 10: recorded 16.06.1969, Chris Grant's Tasty Pop Sundae
Tracks 6-9: recorded 24.06.69, Top Gear
Tracks 11-14: recorded 27.06.1969, One Night Stand' - Playhouse Theatre, London

Disc 2: all tracks recorded 01.04.71, Paris Theatre, London

...( Info )...

Artist: Fancy
Title: Fancy - Best by Zhuravlik (1985-2023)
Year: 1985-2023
Genre: Electronic
Duration: 06:57:47
Format/Codec: MP3
Audio Bitrate: 320


...( TrackList )...


[5:06] . 001-Colder Than Ice
[5:28] . 002-Slice Me Nice
[5:41] . 003-In Shock
[5:33] . 004-Get Your Kicks
[5:50] . 005-Chinese Eyes
[4:06] . 006-Bolero (Hold Me In Your Arms Again)
[4:07] . 007-Don't Want To Go
[4:21] . 008-Save The Moment
[4:37] . 009-Lady Of Ice
[5:14] . 010-Latin Fire
[4:40] . 011-After Midnight
[5:23] . 012-China Blue
[5:25] . 013-Flames Of Love
[5:13] . 014-Moscow Is Calling
[5:38] . 015-I Can't Live Without You (Lonely Nights)
[6:25] . 016-Bodyguard
[4:14] . 017-Tonight The Devil Wins My Soul
[3:28] . 018-Spy In The Night
[3:48] . 019-Blue Eyed Lady
[3:58] . 020-Fools Cry
[4:13] . 021-My Emotional Way
[3:36] . 022-Running Man
[4:35] . 023-Follow Me
[3:36] . 024-Luxury Life
[5:01] . 025-Angel Eyes
[3:54] . 026-A Voice In The Dark
[3:07] . 027-Go Cha Cha
[3:50] . 028-Sail Away
[4:00] . 029-Seven Sins
[3:32] . 030-Like You
[5:06] . 031-When Guardian Angels Cry
[4:04] . 032-All We Need Is To Believe
[4:16] . 033-Island Of Dreams
[4:09] . 034-Love Never Dies
[3:26] . 035-It's Only Loneliness
[3:21] . 036-Saint Marie De La Mer (Stop It Right Now)
[3:52] . 037-C'est La Vie
[3:49] . 038-Lost In Love
[4:14] . 039-I'm Free / Freedom
[4:01] . 040-Push And Shove Of Love
[3:33] . 041-Love In Japan
[3:02] . 042-No More Sin
[3:31] . 043-Cool Jerk
[5:22] . 044-No Way Out (& Latoya Turner )
[3:19] . 045-Cool Snake (& Latoya Turner )
[3:43] . 046-Beam Me Up (I Beam You Up To Paradise)(& High K.)
[3:54] . 047-Long Way To Paradise
[4:06] . 048-Wait By The Radio
[3:35] . 049-Prince Of Darkness
[3:17] . 050-Blue Planet
[3:35] . 051-Magic
[3:59] . 052-I Can Give You Love
[3:51] . 053-Moonchild
[3:12] . 054-Human Lover
[4:09] . 055-The Big Dust
[4:01] . 056-Fly Away
[3:34] . 057-Colours Of Life (So In Love)(& Donald Fact)
[3:53] . 058-I'm Goin' Back
[3:26] . 059-Voices From Heaven
[3:35] . 060-The Diceman
[3:39] . 061-There Is Magic
[3:53] . 062-Changing My Ways (You Got Me)
[3:27] . 063-Road To Avalon
[4:04] . 064-Way Of Freedom
[3:12] . 065-Money (& Donald Fact)
[3:08] . 066-Blue Eyes And A Broken Heart
[3:32] . 067-D.I.S.C.O. (Lust For Life)(& Lyane Hegemann)
[3:52] . 068-When Clowns Cry
[3:15] . 069-Japanese Girl
[3:36] . 070-Gimme A Sign
[3:53] . 071-Senorita
[3:18] . 072-A Neverending Ride
[4:07] . 073-I Can't Forget You
[3:15] . 074-Die For You
[2:11] . 075-Why Oh Why
[3:38] . 076-Keep On Going
[2:40] . 077-Locomotion
[4:03] . 078-Saltimbanco (instr.)
[3:32] . 079-I'm Melting Your Heart
[4:15] . 080-Little Juliet
[4:05] . 081-For One Night In Heaven
[5:19] . 082-My Way (cover Frank Sinatra)
[3:54] . 083-Rockabye Me
[6:42] . 084-I Like Your Smile
[8:30] . 085-I’m Still A Fool
[2:31] . 086-Can You Feel The Beat
[3:14] . 087-Losing Control
[4:08] . 088-Summer Wine (& Lian Ross) (cover Nancy Sinatra & Lee Hazlewood)
[6:03] 089-Lovers
[3:19] . 090-Tonight
[3:25] . 091-Take Your Time
[4:02] . 091-Lost In Music
[3:09] . 093-My Heart Is Cold As Ice
[5:30] . 094-Bonnie & Clyde (& Lian Ross)
[5:23] . 095-Viva La Vida
[5:35] . 096-Feel The Heat
[6:22] . 097-Brothers & Sisters
[5:58] . 098-Lucky Guy
[6:37] . 099-I Found A Rainbow (& Lian Ross)
[7:05] . 100-Amigo

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


..::TRACK-LIST::..

U2 Live From Paris - Concert Filmed At The Hippodrome De Vincennes, Paris On 4th July, 1987:
1. I Will Follow 4:06
2. Trip Through Your Wires 3:33
3. I Still Haven't Found What I'm Looking For / Exodus (Snippet) 5:24
Written By [Exodus] - Bob Marley
4. MLK 1:27
5. The Unforgettable Fire 4:41
6. Sunday Bloody Sunday 5:30
7. Exit / Gloria (Snippet) 4:14
Written By [Gloria] - Van Morrison
8. In God's Country 2:57
9. Electric Co. / Break On Through (Snippet) 4:34
Written By [Break On Through] - Morrison, Densmore, Manzarek, Krieger
10. Bad 7:07
11. October 2:04
12. New Year's Day 4:50
13. Pride (In The Name Of Love) 5:06
14. Bullet The Blue Sky 4:55
15. Running To Stand Still 4:08
16. With Or Without You / Love Will Tear Us Apart (Snippet) 10:05
Written By [Love Will Tear Us Apart] - Sumner, Curtis, Hook, Morris
17. Party Girl 4:16
18. 40 6:53

Documentary:
19. Outside It's America (Filmed In The US During The Joshua Tree Tour, 1987) 48:00
Film Director [Video Director] - Barry Devlin, Meiert Avis
Film Producer [Video Producer] - Anne-Louise Kelly

Bonus Videos:
20. With Or Without You (Alternative Video) 4:48
Film Director [Video Director] - Matt Mahurin
Film Producer [Video Producer] - David Naylor, Sharon Oreck

21. Red Hill Mining Town 5:43
Film Director [Video Director] - Neil Jordan
Film Producer [Video Producer] - JoAnne Sellar

Hidden Bonus Live Tracks, The Dalton Brothers:
22. Lucille 3:37
23. Speech 0:43
24. Lost Highway (Written By - Leon Payne) 3:17



https://www.youtube.com/watch?v=hKihP555MuE


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

OldiesPart080
⭐MP3 @320 kbps
MIXED BAG 19

Albums:
Meg Baird - Seasons On Earth [2011]
Melody Gardot - The Absence [2012]
Memphis Slim - The Bluesman [1969]
Mercedes Sosa - Al Despertar [1998]
Mercury Rev - Hello Blackbird [2006]
Merry Clayton - Gimme Shelter [1970]
Metallica - The Best Ballads [2005] 2CD
Michael Carpenter - Hopefulness [2012]
Michael Chapman - Rainmaker [2012]
Micky Moody & Bernie Marsden - Ozone Friendly [1994]
Mighty Baby - Live [1972]
Mike McGear - Mike McGear [1974]
Milkyway Express - The Milkyway Express [2009]
Milton Nascimento - Milton Nascimento [2006]
Minster Hill - Minster Hill [1999]
Miracles - Renaissance & Do It Baby [2012]
Mi-Sex - Computer Games [1980]
Missy Higgins - The Ol' Razzle Dazzle [2012]
Mom's Apple Pie - #2 [1973]
Moms Apple Pie - Moms Apple Pie [1972]
Monica - New Life [2012]
Morley Grey - The Only Truth [1971]
Mothers Of Invention - Burnt Weeny Sandwich [1970]
Mountain Goats - Tallahassee [2002]
Mr Gasser & the Weidors - Rods n' Ratfinks [1964]
Mr. & Mrs. Garvey - Mr. & Mrs. Garvey [1968]
Muddy Waters - Electric Mud (1968)
Muddy Waters & The Rolling Stones - Checkerboard Lounge Live Chicago 1981 [2012]
Mystic Astrologic Crystal Band - Flowers Never Cry 1967-68 [2011]
Mystic Siva - Mystic Siva [1970]
Nada Surf - The Stars Are Indifferent To Astronomy [2012]
Neil And Liam Finn - Lightsleeper [2018]
Neil Diamond - The Very Best Of [2011]
Neil Young - Everybody Knows This Is Nowhere [1969]
Neil Young - Long Walk Home, Neil Young Recordings [2021]
Neil Young - The Lost Tapes (1968) [1992]
Neil Young - The Ranch Rehearsals with Crazy Horse (Bootleg) [1990]
Neil Young & Crazy Horse - Americana [2012]
Nelson Bragg - We Get What We Want [2012]
Neneh Cherry & The Thing - The Cherry Thing [2012]
New Americans - New Americans [2000]
New Gary Burton Quartet - Guided Tour [2013]
Newton Faulkner - Write It On Your Skin [2012]
Nick Cave & The Bad Seeds - Idiot Prayer (Nick Cave Alone at Alexandra Palace) [2020]
Nick Drake - Nicholas Rodney Drake, Time Has Told Me [2000] 2CD
Nick Mason's Saucerful of Secrets - Live at the Roundhouse [2020] 2CD
Nick Waterhouse - Time's All Gone [2012]
Nicky Hopkins - The Revolutionary Piano of Nicky Hopkins [1966]
Nicole Atkins - Goodnight Rhonda Lee [2017]
Niebiesko-Czarni - Mamy Dla Was Kwiaty [1968]
Nikki Sudden - The Jewel Thief [1991]
Nitty Gritty Dirt Band - Acoustic [1994]
O.W.L. - Of Wondrous Legends [1971]
Off Broadway - On [1979]
Okkervill River - Black Sheep Boy [2007]
Old Saw - Country Tropics [2021]
Onyx - Menschen [1981]
Orange Alabaster Mushroom - Space & Time [2001]
Orchestral Manoeuvres In The Dark - Dazzle Ships [1983]
Ormonde - Machine [2012]
Oscar - Cobblestone Heroes [1977]
Otis Redding - Dock of the Bay Sessions [2018]
Otis Taylor - Hey Joe Opus Red Meat [2015]
P.J. Proby - Enigma [1967]
Patti Smith - Banga [2012]
Paul Carrack - Groove Approved [1989]
Paul Carrack - Old,New,Borrowed and Blue [2007]
Paul Gaffey - Mephistopheles [1975]
Paul Kossoff - 2nd Street [1976]
Paul Kossoff - Back Street Crawler [1973]
Paul Kossoff - Kossoff, Kirke, Tetsu, Rabbit [1972]
Paul Weller - True Meanings [2018]
Pearlfishers - Love And Other Hopeless Things [2019]
Pearls Before Swine - City Of Gold [1971]
Peggy's Leg - Grinilla [1973]
Percewood's Onagram - Tropical Brainforest [1972]
Pete Yorn - Back and Fourth [2009] 2CD
Pete Yorn - Musicforthemorningafter [2001]
Peter Bradley Adams - A Face Like Mine [2017]
Peter Case - Full Service, No Waiting [1998]
PF Sloan - Child Of Our Times (The Trousdale Demo Sessions) [2001]
Phantasia - Phantasia (1971 Reissue) [2002]
Phantom Family Halo - When I Fall Out [2012]
Phoebe Bridgers - Punisher [2020]
Phoenix - It's Never Been Like That [2006]
Pierce Turner - The Compilation [1998]
Pieter Nooten - Surround Us [2012]

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


..::OPIS::..

'The Secrets Of The Black Arts' do dziś pozostaje niepokonany pod względem czystej muzycznej siły i bluźnierczej treści lirycznej...


https://www.youtube.com/watch?v=aLIhmJIBQ9U


"The Secrets of the Black Arts” is an excellent release by a band that was excellent at the time! Unfortunately, some retarded children got into Black Metal at the beginning of this commercial century, and due to their tastelessness and intellectual stillbirth, they seem to feel the uncontrolable need to put this work-of-art down. This is why I have taken it upon myself to set the record straight!

First of all, “The Secrets of the Black Arts” did not come out in 2006, but in 1996, and if heard THEN, was considered to be one of the best albums that had come out of Sweden. I have to say that it is ridiculous for someone who has not experienced the birth and development of BM to bash this album TODAY and criticize the fact it's not " original " or not " innovative “ or " new ". In fact, what does novelty and innovation have to do with Black Metal? This release was a highly pivotal one in the evolution of the Swedish Black Metal scene, for those who care to know or who remember the day this album came out. Another point : those seeking change, innovation or something new should simply stay clear of the whole Black Metal scene, as it is a genre with a strict and unchangeable definition which is meant for the few who understand its obscure beauty. " A black heart will only find beauty in darkness ", as Nödtveidt would have said.


To the music: the lyrics are your typical ones, with words such as "Satan", "shadows" etc returning over and over again. But what would you expect from a BM release??? The sound of the guitars is more or less that of all bands who recorded their albums in The Abyss at that time, yet has a special ring to it. The chords almost sound like an organ being played! Of course, this was long before The Abyss started creating a sound as incredibly artificial as it does today. Themgoroth's voice is perfect, very aggressive and dark, so don’t expect hysterical pseudo-BM vocals. The riffs are mostly fast but melodic, and extremely catchy. The drummer does a very good job, any drummer who has ever tried to play one of the songs would know this. The way the guy changes pace or increases it is awesome! I do not see the point of song nr 10, Satanic Blood, written and originally performed by Von, which really spoils the atmosphere for me.. Except for that, judging only by the band's own compositions, I can only applaud DARK FUNERAL's performance!

To put a fullstop to this review, here's a message to all retards: some of us have been around long enough to know why this album is so great! I doubt there’s anyone involved in the scene for a really long time who does not own and prize this CD. However, if your first experience of Black Metal dates from last Tuesday and you have no special understanding of what real BM is, or worse, think that it's all "just music", refrain from expressing your opinion on “The Secrets of the Black Arts”! You are unworthy of it!!!

Kristenhat666


Whether you hate em or love em. Dark Funeral is one of the biggest black metal bands in the world. Known for their very straightforward and blast-beat dominant approach. This band hadn’t really done anything out of the ordinary since their birth in 1993. In terms of what I usually gravitate towards when I want to jam black metal, this band is one that I’ve never truly dived into that much. I will say they definitely get over-hated a LOT. However, I have always loved their debut album “The Secret of the Black Arts”. A 90s black metal classic.

Right away this album does not bullshit around. As soon as the title track kicks in it’s guns blazing with intensity. It’s got everything a classic black metal album needs. Evil atmosphere, amazing tremolo riffs, and of course lots of blast beats. If you’re into this band you know how fast and blasty this band can get. I think it works out in their favor, especially on this record. Because everything on this album while it's extremely evil. The aggressive and catchy nature of this album is prominent the whole way through. Making this record a very straightforward yet memorable release.

As I stated before this album is hella fucking fast. And what propels a lot of the momentum and speed is the drums. Goddamn are the blast beats on this album fucking relentless. The same can be said for the pummeling double bass work. Which just pounds and crumbles you under its heavy pressure and intensity. Equimanthorn is a very versatile and effective drummer when it comes to just honing in rhythm and speed. And this album isn’t just 100% blast beats as well. There’s a lot of thrashy drum beats and blistering fills to go along with the blasting. The drums can be very mid-paced, fast, and slow at times. The blast beats can also be slowed down to a degree at times. Making for a very satisfying and strong drum performance.

Black metal has always prided itself on having very high-pitched and haunting vocals. On this record, you have just that. Very aggressive shrieking, snarling, and growling. The vocals really don’t deviate much from this aggressive style of screaming. But it doesn’t matter because the vocals are always aggressive and relentlessly in your face. The occasional layering and reverb on the vocals are also a cool touch. Themgoroth’s vocals are evil, and atmospheric, and flow very well with the rhythms/music.

His bass work is also quite good. For a black metal record, the bass sounds very meaty and primitive. This thick fuzzy tone pairs well with the already fantastic guitar work/tone. Creating a very 90s and evil atmosphere that’s prominent across this entire album. The songwriting is fantastic here as well. Each song delivers pure aggression and energy. And it’s got the great hooks and riffs to back it up.

The production here is amazing. It’s raw, stripped down, yet meaty and powerful. The guitar tone has this very suffocating and misty-like texture to it. That hones in this foggy-like atmosphere I get from this album. As I stated earlier the bass sounds gnarly and is heard across the board. Vocally it’s right in the middle and always in your ears up close and personal. The drums are very powerful and devastating as well. The kick drums especially sound very visceral. Especially when the double bass reaches its top speeds. Overall this album has a perfect black metal production quality.

Now we can finally talk about the wonderful guitar work. Man oh man does this album deliver fantastic and hooky riffs. The tremolos on this album exude a very melancholy and evil energy. That is heard right from the start with the title track. This album also plays around with slower riffs and melodies from time to time. It’s very on the lines of Marduk in terms of how fast and precise sections are. The mid-paced rhythms and tremolos are also very accelerating and hooky. Allowing for some movement and great head-banging beats. The album riffs are chaotic, right, groovy, and very memorable overall.

In conclusion, does this band deserve a lot of the hate they get? No. They don’t. This album proves how great they are at creating intense and memorable black metal. With little to no breathing room. If you want balls-to-the-wall aggression and fast blast beats with your black metal. Something that’s always gonna deliver straightforward yet energetic intensity. This band and album are for you. I would also say this band wouldn’t be a bad place to start if you want to dive even deeper into the genre. So give it a shot. A classic black metal release overall.

FFO (and bands to check out in a similar vein): Immortal, Marduk, Belphegor, 1349, Entrhoned, Gorgoroth, Lord Belial

Traumawillalwayslinger



..::TRACK-LIST::..

CD 1:
1. The Dark Age Has Arrived
2. The Secrets of the Black Arts
3. My Dark Desires
4. The Dawn No More Rises
5. When Angels Forever Die
6. The Fire Eternal
7. Satan's Mayhem
8. Shadows Over Transylvania
9. Bloodfrozen
10. Satanic Blood (Von Cover)
11. Dark Are The Paths To Eternity (A Summoning Nocturnal)

CD 2 - Bonus [Unisound Version]:
1. Shadows Over Transylvania
2. The Dawn No More Rises
3. The Secrets Of The Black Arts
4. Satan's Mayhem
5. Bloodfrozen
6. My Dark Desires
7. Dark Are The Paths To Eternity (A Summoning Nocturnal)
8. The Fire Eternal

This release is in memory of David "Blackmoon" Parland (September 26, 1970 - March 19, 2013).



..::OBSADA::..

Lord Ahriman - guitars
Blackmoon - guitars
Themgoroth – bass, vocals
Equimanthorn – drums



https://www.youtube.com/watch?v=8AxtKCO_iE4


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

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


..::OPIS::..

'The Secrets Of The Black Arts' do dziś pozostaje niepokonany pod względem czystej muzycznej siły i bluźnierczej treści lirycznej...


https://www.youtube.com/watch?v=aLIhmJIBQ9U


"The Secrets of the Black Arts” is an excellent release by a band that was excellent at the time! Unfortunately, some retarded children got into Black Metal at the beginning of this commercial century, and due to their tastelessness and intellectual stillbirth, they seem to feel the uncontrolable need to put this work-of-art down. This is why I have taken it upon myself to set the record straight!

First of all, “The Secrets of the Black Arts” did not come out in 2006, but in 1996, and if heard THEN, was considered to be one of the best albums that had come out of Sweden. I have to say that it is ridiculous for someone who has not experienced the birth and development of BM to bash this album TODAY and criticize the fact it's not " original " or not " innovative “ or " new ". In fact, what does novelty and innovation have to do with Black Metal? This release was a highly pivotal one in the evolution of the Swedish Black Metal scene, for those who care to know or who remember the day this album came out. Another point : those seeking change, innovation or something new should simply stay clear of the whole Black Metal scene, as it is a genre with a strict and unchangeable definition which is meant for the few who understand its obscure beauty. " A black heart will only find beauty in darkness ", as Nödtveidt would have said.


To the music: the lyrics are your typical ones, with words such as "Satan", "shadows" etc returning over and over again. But what would you expect from a BM release??? The sound of the guitars is more or less that of all bands who recorded their albums in The Abyss at that time, yet has a special ring to it. The chords almost sound like an organ being played! Of course, this was long before The Abyss started creating a sound as incredibly artificial as it does today. Themgoroth's voice is perfect, very aggressive and dark, so don’t expect hysterical pseudo-BM vocals. The riffs are mostly fast but melodic, and extremely catchy. The drummer does a very good job, any drummer who has ever tried to play one of the songs would know this. The way the guy changes pace or increases it is awesome! I do not see the point of song nr 10, Satanic Blood, written and originally performed by Von, which really spoils the atmosphere for me.. Except for that, judging only by the band's own compositions, I can only applaud DARK FUNERAL's performance!

To put a fullstop to this review, here's a message to all retards: some of us have been around long enough to know why this album is so great! I doubt there’s anyone involved in the scene for a really long time who does not own and prize this CD. However, if your first experience of Black Metal dates from last Tuesday and you have no special understanding of what real BM is, or worse, think that it's all "just music", refrain from expressing your opinion on “The Secrets of the Black Arts”! You are unworthy of it!!!

Kristenhat666


Whether you hate em or love em. Dark Funeral is one of the biggest black metal bands in the world. Known for their very straightforward and blast-beat dominant approach. This band hadn’t really done anything out of the ordinary since their birth in 1993. In terms of what I usually gravitate towards when I want to jam black metal, this band is one that I’ve never truly dived into that much. I will say they definitely get over-hated a LOT. However, I have always loved their debut album “The Secret of the Black Arts”. A 90s black metal classic.

Right away this album does not bullshit around. As soon as the title track kicks in it’s guns blazing with intensity. It’s got everything a classic black metal album needs. Evil atmosphere, amazing tremolo riffs, and of course lots of blast beats. If you’re into this band you know how fast and blasty this band can get. I think it works out in their favor, especially on this record. Because everything on this album while it's extremely evil. The aggressive and catchy nature of this album is prominent the whole way through. Making this record a very straightforward yet memorable release.

As I stated before this album is hella fucking fast. And what propels a lot of the momentum and speed is the drums. Goddamn are the blast beats on this album fucking relentless. The same can be said for the pummeling double bass work. Which just pounds and crumbles you under its heavy pressure and intensity. Equimanthorn is a very versatile and effective drummer when it comes to just honing in rhythm and speed. And this album isn’t just 100% blast beats as well. There’s a lot of thrashy drum beats and blistering fills to go along with the blasting. The drums can be very mid-paced, fast, and slow at times. The blast beats can also be slowed down to a degree at times. Making for a very satisfying and strong drum performance.

Black metal has always prided itself on having very high-pitched and haunting vocals. On this record, you have just that. Very aggressive shrieking, snarling, and growling. The vocals really don’t deviate much from this aggressive style of screaming. But it doesn’t matter because the vocals are always aggressive and relentlessly in your face. The occasional layering and reverb on the vocals are also a cool touch. Themgoroth’s vocals are evil, and atmospheric, and flow very well with the rhythms/music.

His bass work is also quite good. For a black metal record, the bass sounds very meaty and primitive. This thick fuzzy tone pairs well with the already fantastic guitar work/tone. Creating a very 90s and evil atmosphere that’s prominent across this entire album. The songwriting is fantastic here as well. Each song delivers pure aggression and energy. And it’s got the great hooks and riffs to back it up.

The production here is amazing. It’s raw, stripped down, yet meaty and powerful. The guitar tone has this very suffocating and misty-like texture to it. That hones in this foggy-like atmosphere I get from this album. As I stated earlier the bass sounds gnarly and is heard across the board. Vocally it’s right in the middle and always in your ears up close and personal. The drums are very powerful and devastating as well. The kick drums especially sound very visceral. Especially when the double bass reaches its top speeds. Overall this album has a perfect black metal production quality.

Now we can finally talk about the wonderful guitar work. Man oh man does this album deliver fantastic and hooky riffs. The tremolos on this album exude a very melancholy and evil energy. That is heard right from the start with the title track. This album also plays around with slower riffs and melodies from time to time. It’s very on the lines of Marduk in terms of how fast and precise sections are. The mid-paced rhythms and tremolos are also very accelerating and hooky. Allowing for some movement and great head-banging beats. The album riffs are chaotic, right, groovy, and very memorable overall.

In conclusion, does this band deserve a lot of the hate they get? No. They don’t. This album proves how great they are at creating intense and memorable black metal. With little to no breathing room. If you want balls-to-the-wall aggression and fast blast beats with your black metal. Something that’s always gonna deliver straightforward yet energetic intensity. This band and album are for you. I would also say this band wouldn’t be a bad place to start if you want to dive even deeper into the genre. So give it a shot. A classic black metal release overall.

FFO (and bands to check out in a similar vein): Immortal, Marduk, Belphegor, 1349, Entrhoned, Gorgoroth, Lord Belial

Traumawillalwayslinger



..::TRACK-LIST::..

CD 1:
1. The Dark Age Has Arrived
2. The Secrets of the Black Arts
3. My Dark Desires
4. The Dawn No More Rises
5. When Angels Forever Die
6. The Fire Eternal
7. Satan's Mayhem
8. Shadows Over Transylvania
9. Bloodfrozen
10. Satanic Blood (Von Cover)
11. Dark Are The Paths To Eternity (A Summoning Nocturnal)

CD 2 - Bonus [Unisound Version]:
1. Shadows Over Transylvania
2. The Dawn No More Rises
3. The Secrets Of The Black Arts
4. Satan's Mayhem
5. Bloodfrozen
6. My Dark Desires
7. Dark Are The Paths To Eternity (A Summoning Nocturnal)
8. The Fire Eternal

This release is in memory of David "Blackmoon" Parland (September 26, 1970 - March 19, 2013).



..::OBSADA::..

Lord Ahriman - guitars
Blackmoon - guitars
Themgoroth – bass, vocals
Equimanthorn – drums



https://www.youtube.com/watch?v=8AxtKCO_iE4


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

..::INFO::..

Judas Priest to brytyjska grupa heavymetalowa założona w 1969 roku w Birmingham (hrabstwo West Midlands) w Anglii, znana głównie z dwóch gitar prowadzących i dysponującego bardzo dużą skalą głosu wokalisty. Sprzedano ponad 50 mln płyt i innych nośników dźwięku z utworami zespołu. Po początkowych problemach z wytwórnią i wielu zmianach w składzie, grupa osiągnęła znaczny komercyjny sukces w latach 80. i stała się silną inspiracją dla muzyków New Wave of British Heavy Metal i thrashmetalowców. W roku 1989 członkowie zostali oskarżeni o umieszczanie w tekstach utworów przekazów podprogowych, które miały być przyczyną samobójstwa dwóch młodych ludzi, jednakże zostali uniewinnieni. Wstawka zawiera kompilację największych przebojów Judas Priest.

Artist: Judas Priest

Title: The Best Of Judas Priest

Country: Wielka Brytania

Year: 2026

Genre: Heavy Metal

Format / Codec: MP3
Audio bitrate: 320 kbps

..::TRACK-LIST::..

1. You've Got Another Thing Coming
2. Lightning Strike
3. Breaking the Law
4. Beyond the Realms of Death
5. Painkiller
6. Hell Bent for Leather
7. Rocka Rolla
8. Turbo Lover
9. Electric Eye
10. Crown of Horns
11. Living After Midnight
12. Night Crawler
13. Heading Out to the Highway
14. Better by You, Better Than Me
15. The Sentinel
16. Diamonds and Rust

..::INFO::..

Angra to brazylijska grupa muzyczna tworząca progresywny power metal. Została założona w 1991 roku przez Rafaela Bittencourta i Marca Antunesa. Znana jest z używania w swojej muzyce elementów symfonicznych oraz folkloru regionalnego. Grupa została założona w 1991 roku przez Rafaela Bittencourta i Marco Antunesa do których dołączyli Andre Matos (Viper), Luis Mariutti (Firebox) oraz Kiko Loureiro. Po około roku prób powstało pierwsze demo nazwane Reaching Horizons, które zostało bardzo dobrze przyjęte przez krytykę i odniosło niespodziewany sukces zarówno w rodzimej Brazylii, jak i w Europie. Demo to było jednym z pierwszych wydawnictw Limb Music Products, które później wyrosło na jednego z największych europejskich wydawców muzyki power metalowej. W 2019 rpku na zawał serca zmarł wokalista zespołu Andre Matos. Wstawka zawiera drugi album studyjny zespołu. Tematem albumu są odkrycia geograficzne, a dokładniej odkrycie Brazylii w XVI wieku. Na płycie zastosowane zostały elementy klasycznej muzyki brazylijskiej oraz europejskiej.

Title: Holy Land

Artist: Angra

Country: Brazylia

Year: 1996

Genre: Folk Metal, Hard Rock

Format / Codec: MP3
Audio bitrate: 320 kbps

..::TRACK-LIST::..

1.Crossing
2.Nothing to Say
3.Silence and Distance
4.Carolina IV
5.Holy Land
6.The Shaman
7.Make Believe
8.Z.I.T.O.
9.Deep Blue
10.Lullaby for Lucifer
11.Queen of the Night

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


..::OPIS::..

Ofensywa na całym froncie. Machina wojenna udoskonalona do granic możliwości. Potencjał broni w niezmierzonych ilościach. Moc silników, potęga stali i... nagły atak. Zaskoczenie. Ekstremum w perfekcyjnej formie. Energia, która rozsadza świadomość. Ogień!!!

Od dawna czekałem na taką płytę, która w sposób bezkompromisowy, a zarazem perfekcyjny, prezentuje tak ekstremalny przekaz. Dodatkowo cieszy fakt, że to właśnie Vader, polski zespół cieszący się dużym uznaniem na całym świecie, nagrał płytę wręcz wybuchową. "Litany" może poszczycić się produkcją i brzmieniem na światowym poziomie. I to wszystko bez konieczności nagrywania płyty poza granicami naszego kraju. Gdańskie "Red Studio" świetnie spełniło swoje realizatorskie zadanie. Od początku obcowania z nowym albumem Vader, największą uwagę zwraca piorunująco szybka gra perkusisty, która teraz przybrała wręcz nieludzki wymiar. Do tego dochodzi ściana tnących jak brzytwy gitar i potężna energia płynąca z gry całego zespołu.

Wszystkie elementy na "Litany" stanowią precyzyjnie dopracowaną konstrukcję, która poraża olbrzymim ładunkiem emocji, zaklętych w stalowe ramy. Niech Moc będzie z wami!

Marcin Ratyński


Przez trzy lata jakie minęły od „Black To The Blind” Vader nie próżnował. Najpierw ukazała się ciekawa i odważna EPka „Kingdom”, z najwolniejszym w karierze, ale bardzo fajnym utworem tytułowym i gdzie oprócz tego są, między innymi, elektroniczne remixy dwóch utworów z „Black To The Blind”. Następnie zaś uwieńczenie mnóstwa światowych występów na koncertówkach „Live In Japan” i wydanym na video „Vision And Voice”. Szczególnie ta pierwsza zrobiła na mnie ogromne wrażenie i katowałem ją niemiłosiernie jako kwintesencję wielkiego sukcesu i koncertowego geniuszu. No, ale nie można w nieskończoność odcinać kuponów od zdartych już płyt i trzeba było dostarczyć wygłodniałej gawiedzi nowych emocji. Tak przyszedł rok 2000, a z nim album „Litany”. Jak przystało na największych, Vader nie zawiódł i po raz kolejny we wspaniały sposób wpisał się na czarne karty historii death metalu.

„Litany” jest płytą podobną do „Black To The Blind” praktycznie pod każdym względem. Oznacza to jednak, że dziedziczy wszystkie jej niesamowite zalety. Znów więc mamy do czynienia z absolutnym mistrzostwem muzycznym i kunsztem najwyższej próby. Znów jest potwornie szybko i piekielnie precyzyjnie. To jest tornado. To co wyrabia Docent na perkusji jest po prostu niesamowite. Posłuchajcie „Cold Demons”, posłuchajcie „North” i „A World Of Hurt”. Co tam się dzieje? To jest masakra. Ilość uderzeń i tempo w jakim są wygrywane jest porażająca. To są lawiny dźwięków dopadające słuchacza między gitarowym gąszczem i przytłaczające go już totalnie do ziemi.

Czy jednak ta konwencja sama w sobie nie staje się już nudna i powtarzalna? Zdecydowanie nie, bowiem Peter ma ogromny talent do wymyślania fantastycznych riffów, grania świetnych solówek i w ogóle układania zajebistych piosenek. Jak każda płyta Vader, „Litany” jest zbiorem genialnych utworów. Zabójczo szybkich, ale z rytmem, z melodią i z doskonałym wokalem. „Wings”, „Xeper”, „Litany”, „The Calling”, „Forwards To Die!!!” to są niszczące hiciory dołączające do panteonu wielkich przebojów tego wielkiego zespołu. Super jest „Cold Demons”, którego tekst traktuje o niszczycielskiej mocy czołgów, a sam jest co najmniej tak niszczycielski jak cała pancerna dywizja. Fantastyczny jest "The World Made Flesh" gdzie solówki na gitarze i perkusji przechodzą same siebie, a Peter z Docentem łamią kolejne bariery i prześigują się w swojej perfekcyjności.

Na deser mamy „The Final Massacre” z pierwszej płyty. Ja się cieszyłem, że te kawałki są przypominane i nabierają nowego wymiaru, bo, pomimo całej boskości „The Ultimate Incantation”, nie miała ona najlepszego brzmienia, a tak można odkrywać je na nowo. Na wspomnianym „Kingdom” było „Breath Of Centuries”, teraz kolejne danie.

Cała płyta jest króciutka. Nawet z bonusowym utworem ledwo dobija do pół godziny. Napada nagle, pustoszy, demoluje i znika tak szybko jak się pojawiła, zostawiając po sobie ruiny i zgliszcza. To jest Vader w swojej najlepszej odsłonie.

Wujas


Czy zespół VADER może być dla kogokolwiek (mam tu na myśli szczególnie zwolenników gitarowych brzmień) nieznany? Szczerze wątpię, ale kto wie, może znajdą się „anomalie” wśród społeczeństwa, którym ta nazwa kojarzy się głównie z czarnym charakterem spod znaku „Star Wars”. Jak by nie było, wierzę, że sympatycy metalowego żywiołu, w pierwszej kolejności pomyślą o naszym rodzimym produkcie eksportowym, któremu od lat przewodzi niezastąpiony Piotr ‘Peter’ Wiwczarek. To głównie dzięki niemu fani metalowej ekstremy zyskali wiele powodów do zadowolenia. Za jeden z nich bez wątpienia trzeba uznać kultowe wydawnictwo z 2000 roku.

Tak dokładnie, mowa o pamiętnym i soczyście agresywnym „Litany”! To właśnie ta płyta doczekała się reedycji z okazji 25 urodzin. Czy to dobrze czy też źle? Generalnie nie ma jednoznacznej odpowiedzi. Z jednej strony taki zabieg można uznać za pozytywny ruch, szczególnie z uwagi na fakt, że pewnie wielu młodszych fanów borykało się z problemem nabycia tego wydawnictwa, zwłaszcza w „normalnej” cenie (ceny płyt to w ogóle temat na dłuższe rozważanie). Z drugiej strony, grzebanie przy klasykach jest niczym praca na żywym organizmie, operacja może nie przynieść spodziewanych rezultatów, a w niektórych przypadkach, cała akcja kończy się totalnym niepowodzeniem. Z jakim przypadkiem mamy do czynienia? Jeżeli chodzi o jakość, a dokładniej brzmienie, pod tym względem eksperyment nie powiódł się do końca, przynajmniej w moim odczuciu. Mianowicie, specyficzna choć nieidealna barwa pierwotnego wydawnictwa została w pewien sposób ugrzeczniona, spłaszczona, skompresowana. Osobiście bardziej cenię sobie nieokiełznaną niedoskonałość pierwowzoru. Przy tak intensywnych dźwiękach jakie niesie ze sobą „Litany”, brzmieniowa niesubordynacja pasowała idealnie i to nie wymagało zmiany. Wersja z 2000 roku to bezsprzecznie metalowy, bezkompromisowy cios prosto w twarz! Za plus można uznać fakt, że reedycja została wzbogacona o dwa kawałki, które pierwotnie ukazały się na japońskiej wersji. Pierwszy z nich, „Red Dunes” to co prawda jedynie kawałek instrumentalny, atmosferyczny przerywnik, ale za to drugi, „Lord of Desert”, to soczysty utwór z krwi i kości. Co by nie mówić, takie bonusy zawsze są mile widziane.

Jakieś inne różnice? Nowa wersja „Litany” została wydana w formie digipacka, a sama szata graficzna uległa kosmetycznej metamorfozie. Użyto też mniej połyskującego papieru do bookletu, więc w dotyku też można wyczuć zmianę. Jeżeli chodzi o zawartość stricte muzyczną, w tej kwestii 25 lat temu napisano już pewnie wszystko co najbardziej istotne – z perspektywy czasu, ten materiał wciąż kopie jak trzeba i nie wydaje mi się by w przyszłości coś miało ulec zmianie w tej kwestii. Bez wątpienia jest to album ponadczasowy, pełen niespożytkowanej energii.

Podsumowując, ogólne zamierzenie na pewno ma sens. Co prawda reedycje wzbudzają ambiwalentne odczucia i nie ma co się dziwić. Przy niektórych albumach, zwłaszcza przy brzmieniu, nie warto „mieszać”, bo pierwotne wersje mają swój urok, niepowtarzalny klimat, nawet pomimo niedoskonałości. Obecnie większość płyt brzmi do zrzygania tak samo, więc jakże miło włączyć coś sprzed lat i poczuć klimat czasów minionych, gdzie różnorodność, zwłaszcza brzmieniowa nie była jedynie okazjonalnym akcentem. Jeżeli w przyszłości będę włączał „Litany”, a na 666% będę, to w odtwarzaczu najczęściej zagości wersja właśnie sprzed 25 lat.

S!X


The last installment of this series. I saved the best for last. This release is a crowning achievement in death metal.

Two Polish bands in this series!. What's in the water there? I admit, I don't have a whole lot of music from Poland and the rest of the bands in my collection from there play black metal. Maybe the guys in Behemoth and Vader are just mutants. Whatever the case, I'm damn glad they're around. This is my favorite death metal album, bar none.

It's like the band set up on the turret of a battle tank and the moment you switch this on, they come crashing out of your speakers and plow through your house growling, riffing, and blasting on a suicidal last stand of destruction. Intense.

The drum sound! My god! It's like the fucking Hulk is doing the footwork here. THEY ARE COLOSSAL. Loudest and beefiest bass drums I've ever heard on an album. Just holy shit...I'll restrain the navy blue vicar for now (seriously, read his reviews). And get ready to have your skull caved in and your insides reorganized from the bludgeoning drumming performance on Litany.

That is cool by itself but the riffing is just as great! They typically whip up whirlwinds of violent yet melodic tremolo in addition to the requisite palm muting and crushing European style power chords. Whiplash inducing so you might want to strap yourself down before hitting the play button. Don't forget to brace for impact when the 1st Company of Badass Polish Mutants comes tearing out. If you cranked this shit on a loud stereo your neighbors would probably kill you if the marauding sound waves didn't grind them into pudding first.

YOU BURN
YOU SLAY - DESTROY!!!
YOU THROW THE FLAMES AND BOLTS
JUST FORWARDS!!! FORWARDS!!! ATTACK!!! ATTACK!!!

Those are lyrics! This music hurts stuff. It tears off heads no less. Yes, the Hulk is definitely in session on this masterpiece of death metal. Plus they're vox that you can mostly understand, always a great thing.

Litany is primarily up tempo but not in the pretentious way. The songs are broken up well without letting them breathe TOO much, of course. Assault is the name of the game here. It's been my feeling that music represents some sort of movement in it's rhythms. This would represent bashing your head into a cement wall very rapidly. And it feels good...it's metal. Metal with POUNDING FACEFUCKING FLINTSTONE RHYTHMS OF DEATH. I couldn't hold that in any longer and it's important to know.

While the theme of war is hardly new, Vader pulls it off just as well as, if not better than, Bolt Thrower even if they deal with other themes too.. The fifth track "Cold Demons" features an intro and outro sample of a tank crew engaging a target then leaving at the end of the song. Not to mention the barbaric vocalist screaming "FIRE!!!" in sync with the cannon towards the end! That track alone would be worth enough for a good score Just go ahead and order it if you don't already have Litany. Download it while you wait. I'll let the album speak for itself.

European death with a modern flair sans the cheese and wank. 100% punishing.

Arboreal



..::TRACK-LIST::..

1. Wings 3:10
2. The One Made Of Dreams 1:49
3. Xeper 4:00
4. Litany 3:01
5. Cold Demons 3:12
6. The Calling 3:10
7. North 1:36
8. Forwards To Die!!! 1:38
9. A World Of Hurt 1:51
10. Red Dunes 1:13
11. Lord Of Desert 1:58
12. The World Made Flesh 2:48
13. The Final Massacre 4:31

Track 10-11 from Japanese Bonus Tracks

Recorded & mixed at Red Studio, Gdynia, November 1999
Pre-mastered at Red Studio, Gdynia, November 1999
Mastered at Studio 333, Częstochowa, December 1999
Remastered at Hertz Recording Studio, May 2025



..::OBSADA::..

Piotr 'Peter' Wiwczarek - lead vocals, lead guitar, bass,[7]
Maurycy 'Mauser' Stefanowicz - rhythm guitar
Leszek 'Shambo' Rakowski - bass (credited, did not perform)[7]
Krzysztof 'Doc' Raczkowski - drums



https://www.youtube.com/watch?v=uNVmPrfe08Y


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

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


..::OPIS::..

Ofensywa na całym froncie. Machina wojenna udoskonalona do granic możliwości. Potencjał broni w niezmierzonych ilościach. Moc silników, potęga stali i... nagły atak. Zaskoczenie. Ekstremum w perfekcyjnej formie. Energia, która rozsadza świadomość. Ogień!!!

Od dawna czekałem na taką płytę, która w sposób bezkompromisowy, a zarazem perfekcyjny, prezentuje tak ekstremalny przekaz. Dodatkowo cieszy fakt, że to właśnie Vader, polski zespół cieszący się dużym uznaniem na całym świecie, nagrał płytę wręcz wybuchową. "Litany" może poszczycić się produkcją i brzmieniem na światowym poziomie. I to wszystko bez konieczności nagrywania płyty poza granicami naszego kraju. Gdańskie "Red Studio" świetnie spełniło swoje realizatorskie zadanie. Od początku obcowania z nowym albumem Vader, największą uwagę zwraca piorunująco szybka gra perkusisty, która teraz przybrała wręcz nieludzki wymiar. Do tego dochodzi ściana tnących jak brzytwy gitar i potężna energia płynąca z gry całego zespołu.

Wszystkie elementy na "Litany" stanowią precyzyjnie dopracowaną konstrukcję, która poraża olbrzymim ładunkiem emocji, zaklętych w stalowe ramy. Niech Moc będzie z wami!

Marcin Ratyński


Przez trzy lata jakie minęły od „Black To The Blind” Vader nie próżnował. Najpierw ukazała się ciekawa i odważna EPka „Kingdom”, z najwolniejszym w karierze, ale bardzo fajnym utworem tytułowym i gdzie oprócz tego są, między innymi, elektroniczne remixy dwóch utworów z „Black To The Blind”. Następnie zaś uwieńczenie mnóstwa światowych występów na koncertówkach „Live In Japan” i wydanym na video „Vision And Voice”. Szczególnie ta pierwsza zrobiła na mnie ogromne wrażenie i katowałem ją niemiłosiernie jako kwintesencję wielkiego sukcesu i koncertowego geniuszu. No, ale nie można w nieskończoność odcinać kuponów od zdartych już płyt i trzeba było dostarczyć wygłodniałej gawiedzi nowych emocji. Tak przyszedł rok 2000, a z nim album „Litany”. Jak przystało na największych, Vader nie zawiódł i po raz kolejny we wspaniały sposób wpisał się na czarne karty historii death metalu.

„Litany” jest płytą podobną do „Black To The Blind” praktycznie pod każdym względem. Oznacza to jednak, że dziedziczy wszystkie jej niesamowite zalety. Znów więc mamy do czynienia z absolutnym mistrzostwem muzycznym i kunsztem najwyższej próby. Znów jest potwornie szybko i piekielnie precyzyjnie. To jest tornado. To co wyrabia Docent na perkusji jest po prostu niesamowite. Posłuchajcie „Cold Demons”, posłuchajcie „North” i „A World Of Hurt”. Co tam się dzieje? To jest masakra. Ilość uderzeń i tempo w jakim są wygrywane jest porażająca. To są lawiny dźwięków dopadające słuchacza między gitarowym gąszczem i przytłaczające go już totalnie do ziemi.

Czy jednak ta konwencja sama w sobie nie staje się już nudna i powtarzalna? Zdecydowanie nie, bowiem Peter ma ogromny talent do wymyślania fantastycznych riffów, grania świetnych solówek i w ogóle układania zajebistych piosenek. Jak każda płyta Vader, „Litany” jest zbiorem genialnych utworów. Zabójczo szybkich, ale z rytmem, z melodią i z doskonałym wokalem. „Wings”, „Xeper”, „Litany”, „The Calling”, „Forwards To Die!!!” to są niszczące hiciory dołączające do panteonu wielkich przebojów tego wielkiego zespołu. Super jest „Cold Demons”, którego tekst traktuje o niszczycielskiej mocy czołgów, a sam jest co najmniej tak niszczycielski jak cała pancerna dywizja. Fantastyczny jest "The World Made Flesh" gdzie solówki na gitarze i perkusji przechodzą same siebie, a Peter z Docentem łamią kolejne bariery i prześigują się w swojej perfekcyjności.

Na deser mamy „The Final Massacre” z pierwszej płyty. Ja się cieszyłem, że te kawałki są przypominane i nabierają nowego wymiaru, bo, pomimo całej boskości „The Ultimate Incantation”, nie miała ona najlepszego brzmienia, a tak można odkrywać je na nowo. Na wspomnianym „Kingdom” było „Breath Of Centuries”, teraz kolejne danie.

Cała płyta jest króciutka. Nawet z bonusowym utworem ledwo dobija do pół godziny. Napada nagle, pustoszy, demoluje i znika tak szybko jak się pojawiła, zostawiając po sobie ruiny i zgliszcza. To jest Vader w swojej najlepszej odsłonie.

Wujas


Czy zespół VADER może być dla kogokolwiek (mam tu na myśli szczególnie zwolenników gitarowych brzmień) nieznany? Szczerze wątpię, ale kto wie, może znajdą się „anomalie” wśród społeczeństwa, którym ta nazwa kojarzy się głównie z czarnym charakterem spod znaku „Star Wars”. Jak by nie było, wierzę, że sympatycy metalowego żywiołu, w pierwszej kolejności pomyślą o naszym rodzimym produkcie eksportowym, któremu od lat przewodzi niezastąpiony Piotr ‘Peter’ Wiwczarek. To głównie dzięki niemu fani metalowej ekstremy zyskali wiele powodów do zadowolenia. Za jeden z nich bez wątpienia trzeba uznać kultowe wydawnictwo z 2000 roku.

Tak dokładnie, mowa o pamiętnym i soczyście agresywnym „Litany”! To właśnie ta płyta doczekała się reedycji z okazji 25 urodzin. Czy to dobrze czy też źle? Generalnie nie ma jednoznacznej odpowiedzi. Z jednej strony taki zabieg można uznać za pozytywny ruch, szczególnie z uwagi na fakt, że pewnie wielu młodszych fanów borykało się z problemem nabycia tego wydawnictwa, zwłaszcza w „normalnej” cenie (ceny płyt to w ogóle temat na dłuższe rozważanie). Z drugiej strony, grzebanie przy klasykach jest niczym praca na żywym organizmie, operacja może nie przynieść spodziewanych rezultatów, a w niektórych przypadkach, cała akcja kończy się totalnym niepowodzeniem. Z jakim przypadkiem mamy do czynienia? Jeżeli chodzi o jakość, a dokładniej brzmienie, pod tym względem eksperyment nie powiódł się do końca, przynajmniej w moim odczuciu. Mianowicie, specyficzna choć nieidealna barwa pierwotnego wydawnictwa została w pewien sposób ugrzeczniona, spłaszczona, skompresowana. Osobiście bardziej cenię sobie nieokiełznaną niedoskonałość pierwowzoru. Przy tak intensywnych dźwiękach jakie niesie ze sobą „Litany”, brzmieniowa niesubordynacja pasowała idealnie i to nie wymagało zmiany. Wersja z 2000 roku to bezsprzecznie metalowy, bezkompromisowy cios prosto w twarz! Za plus można uznać fakt, że reedycja została wzbogacona o dwa kawałki, które pierwotnie ukazały się na japońskiej wersji. Pierwszy z nich, „Red Dunes” to co prawda jedynie kawałek instrumentalny, atmosferyczny przerywnik, ale za to drugi, „Lord of Desert”, to soczysty utwór z krwi i kości. Co by nie mówić, takie bonusy zawsze są mile widziane.

Jakieś inne różnice? Nowa wersja „Litany” została wydana w formie digipacka, a sama szata graficzna uległa kosmetycznej metamorfozie. Użyto też mniej połyskującego papieru do bookletu, więc w dotyku też można wyczuć zmianę. Jeżeli chodzi o zawartość stricte muzyczną, w tej kwestii 25 lat temu napisano już pewnie wszystko co najbardziej istotne – z perspektywy czasu, ten materiał wciąż kopie jak trzeba i nie wydaje mi się by w przyszłości coś miało ulec zmianie w tej kwestii. Bez wątpienia jest to album ponadczasowy, pełen niespożytkowanej energii.

Podsumowując, ogólne zamierzenie na pewno ma sens. Co prawda reedycje wzbudzają ambiwalentne odczucia i nie ma co się dziwić. Przy niektórych albumach, zwłaszcza przy brzmieniu, nie warto „mieszać”, bo pierwotne wersje mają swój urok, niepowtarzalny klimat, nawet pomimo niedoskonałości. Obecnie większość płyt brzmi do zrzygania tak samo, więc jakże miło włączyć coś sprzed lat i poczuć klimat czasów minionych, gdzie różnorodność, zwłaszcza brzmieniowa nie była jedynie okazjonalnym akcentem. Jeżeli w przyszłości będę włączał „Litany”, a na 666% będę, to w odtwarzaczu najczęściej zagości wersja właśnie sprzed 25 lat.

S!X


The last installment of this series. I saved the best for last. This release is a crowning achievement in death metal.

Two Polish bands in this series!. What's in the water there? I admit, I don't have a whole lot of music from Poland and the rest of the bands in my collection from there play black metal. Maybe the guys in Behemoth and Vader are just mutants. Whatever the case, I'm damn glad they're around. This is my favorite death metal album, bar none.

It's like the band set up on the turret of a battle tank and the moment you switch this on, they come crashing out of your speakers and plow through your house growling, riffing, and blasting on a suicidal last stand of destruction. Intense.

The drum sound! My god! It's like the fucking Hulk is doing the footwork here. THEY ARE COLOSSAL. Loudest and beefiest bass drums I've ever heard on an album. Just holy shit...I'll restrain the navy blue vicar for now (seriously, read his reviews). And get ready to have your skull caved in and your insides reorganized from the bludgeoning drumming performance on Litany.

That is cool by itself but the riffing is just as great! They typically whip up whirlwinds of violent yet melodic tremolo in addition to the requisite palm muting and crushing European style power chords. Whiplash inducing so you might want to strap yourself down before hitting the play button. Don't forget to brace for impact when the 1st Company of Badass Polish Mutants comes tearing out. If you cranked this shit on a loud stereo your neighbors would probably kill you if the marauding sound waves didn't grind them into pudding first.

YOU BURN
YOU SLAY - DESTROY!!!
YOU THROW THE FLAMES AND BOLTS
JUST FORWARDS!!! FORWARDS!!! ATTACK!!! ATTACK!!!

Those are lyrics! This music hurts stuff. It tears off heads no less. Yes, the Hulk is definitely in session on this masterpiece of death metal. Plus they're vox that you can mostly understand, always a great thing.

Litany is primarily up tempo but not in the pretentious way. The songs are broken up well without letting them breathe TOO much, of course. Assault is the name of the game here. It's been my feeling that music represents some sort of movement in it's rhythms. This would represent bashing your head into a cement wall very rapidly. And it feels good...it's metal. Metal with POUNDING FACEFUCKING FLINTSTONE RHYTHMS OF DEATH. I couldn't hold that in any longer and it's important to know.

While the theme of war is hardly new, Vader pulls it off just as well as, if not better than, Bolt Thrower even if they deal with other themes too.. The fifth track "Cold Demons" features an intro and outro sample of a tank crew engaging a target then leaving at the end of the song. Not to mention the barbaric vocalist screaming "FIRE!!!" in sync with the cannon towards the end! That track alone would be worth enough for a good score Just go ahead and order it if you don't already have Litany. Download it while you wait. I'll let the album speak for itself.

European death with a modern flair sans the cheese and wank. 100% punishing.

Arboreal



..::TRACK-LIST::..

1. Wings 3:10
2. The One Made Of Dreams 1:49
3. Xeper 4:00
4. Litany 3:01
5. Cold Demons 3:12
6. The Calling 3:10
7. North 1:36
8. Forwards To Die!!! 1:38
9. A World Of Hurt 1:51
10. Red Dunes 1:13
11. Lord Of Desert 1:58
12. The World Made Flesh 2:48
13. The Final Massacre 4:31

Track 10-11 from Japanese Bonus Tracks

Recorded & mixed at Red Studio, Gdynia, November 1999
Pre-mastered at Red Studio, Gdynia, November 1999
Mastered at Studio 333, Częstochowa, December 1999
Remastered at Hertz Recording Studio, May 2025



..::OBSADA::..

Piotr 'Peter' Wiwczarek - lead vocals, lead guitar, bass,[7]
Maurycy 'Mauser' Stefanowicz - rhythm guitar
Leszek 'Shambo' Rakowski - bass (credited, did not perform)[7]
Krzysztof 'Doc' Raczkowski - drums



https://www.youtube.com/watch?v=uNVmPrfe08Y


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

...( Info )...

Artist: Budka Suflera
Title: Było
Year: 2005
Genre: Progressive Rock, Hard Rock
Country: Poland
Duration: 01:04:40
Format/Codec: FLAC
Audio bitrate: lossless

...( TrackList )...


01. Intro - 01:07
02. Za ostatni grosz - 04:01
03. Chodź - 03:16
4. Biały demon - 02:52
05. Cały mój zgiełk - 03:56
06. Z dalekich wypraw - 03:22
07. Giganci tańczą - 03:31
08. Lubię ten stary obraz - 06:35
09. Pieśń niepokorna - 05:01
10. Nic nie boli tak jak życie - 04:32
11. Nov - 04:27
12. Tyle z tego masz - 04:02
13. Z bagażem swoich lat - 05:06
14. I tylko gwiazda - 03:24
15. Kolęda rozterek - 04:58
16. Nowa Wieża Babel - 04:23

..::INFO::..

---------------------------------------------------------------------
Dire Straits – The Broadcast Collection 1979-1992 - (5 CD)
(Unofficial Release)
---------------------------------------------------------------------
CD 1: San Francisco 1979 [Part 1]
CD 2: San Francisco 1979 [Part 2]
CD 3: Sydney 1986 [Part 1]
CD 4: Sydney 1986 [Part 2]
CD 5: Cavese 1992
---------------------------------------------------------------------

Artist...............: Dire Straits
Album................: The Broadcast Collection 1979-1992
Genre................: Rock
Source...............: CD
Year.................: 2020
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 56-71 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Cult Legends - Netherlands

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

---------------------------------------------------------------------
Tracklisting CD 1 - San Francisco 1979 [Part 1]
---------------------------------------------------------------------

1. Dire Straits - Down To The Waterline [02:57]
2. Dire Straits - Six Blade Knife [04:24]
3. Dire Straits - One Upon A Time In The West [05:24]
4. Dire Straits - Lady Writer [03:40]
5. Dire Straits - Water Of Love [05:12]
6. Dire Straits - In The Gallery [05:28]
7. Dire Straits - News [03:44]

Playing Time.........: 30:51
Total Size...........: 205,74 MB

---------------------------------------------------------------------
Tracklisting CD 2 - San Francisco 1979 [Part 2]
---------------------------------------------------------------------

1. Dire Straits - What's The Matter Baby [02:49]
2. Dire Straits - Lions [05:49]
3. Dire Straits - Sultan Of Swing [05:49]
4. Dire Straits - Wild West End [04:41]
5. Dire Straits - Where Do You Think You're Goin [04:20]
6. Dire Straits - Eastbound Train [03:42]
7. Dire Straits - Southbound Again [04:41]

Playing Time.........: 31:53
Total Size...........: 210,91 MB

---------------------------------------------------------------------
Tracklisting CD 3 - Sydney 1986 [Part 1]
---------------------------------------------------------------------

1. Dire Straits - Intro [01:21]
2. Dire Straits - Ride Across The River [10:44]
3. Dire Straits - Expresso Love [06:52]
4. Dire Straits - Industrial Disease [05:53]
5. Dire Straits - So Far Away [07:17]
6. Dire Straits - Romeo And Juliet [11:19]
7. Dire Straits - Private Investigations [08:28]
8. Dire Straits - Sultans Of Swing [11:43]

Playing Time.........: 01:03:41
Total Size...........: 362,70 MB

---------------------------------------------------------------------
Tracklisting CD 4 - Sydney 1986 [Part 2]
---------------------------------------------------------------------

1. Dire Straits - Why Worry [07:33]
2. Dire Straits - Your Latest Trick [05:07]
3. Dire Straits - Walk Of Life [06:47]
4. Dire Straits - Two Young Lovers [09:05]
5. Dire Straits - Money For Nothing [08:06]
6. Dire Straits - Tunnel Of Love [11:30]
7. Dire Straits - Brothers In Arms [08:12]
8. Dire Straits - Solid Rock [04:48]
9. Dire Straits - Waltzing Matilda [02:11]
10. Dire Straits - Final Words [01:52]
11. Dire Straits - Going Home (Theme From Local Hero) [04:53]
12. Dire Straits - Interview With Mark And Ed [05:41]

Playing Time.........: 01:15:48
Total Size...........: 430,32 MB

---------------------------------------------------------------------
Tracklisting CD 5 - Cavese 1992
---------------------------------------------------------------------

1. Dire Straits - Sultans Of Swing [12:09]
2. Dire Straits - Walk Of Life [05:50]
3. Dire Straits - Heavy Fuel [05:17]
4. Dire Straits - The Bug [05:10]
5. Dire Straits - Calling Elvis [11:01]
6. Dire Straits - Your Latest Trick [05:24]
7. Dire Straits - Telegraph Road [12:00]
8. Dire Straits - Solid Rock [05:13]
9. Dire Straits - Wild Theme Local Hero [04:01]

Playing Time.........: 01:06:07
Total Size...........: 468,63 MB

Disc 1 San Fransisco 1979 part 1 Old Waldorf, San Francisco, USA, 31st March 1979
Disc 2 San Fransisco 1979 part 2
Disc 3 Sydney 1986 part 1 Sydney Entertainment Centre, Sydney, Australia, 26th April 1986
Disc 4 Sydney 1986 part 2
Disc 5 Cavese 1992 (Cava de' Tirreni Stadio Comunale, Italy, 19th September1992 according to the manufacturer) but in fact this is Oslo Vallehovin Stadium, Oslo, Norway, 30th July 1992

...( Info )...

Składanka mireczka-muza mix vol.41
Gatunek: Różne
Rok:2026
mp3@320kbps
CZAS:01:59:09

...( TrackList )...

1.Snoop Dogg Vs. Snap - Gangsta Luv Vs. Rhythm Is A Dancer (Bootleg Remix)
2.CoL M - Sun goes out (Original mix)
3.Sebastien Luminous feat.Mc Sar - Busta Zok Party! (Extended Mix)
4.Dimitri Vegas & Sylver & Pat B - Turn The Tide
5.DJ VAL - In This Life
6.TNT Records - Fighting Yourself
7.Kygo & Flow Kingz & JMK - Kygo Jo (feat. Lyng) (Remix)
8.SAVAGE-44 - Club drive
9.3 Are Legend - What You Say (feat. Imogen Heap)
10.Heiko & Maiko - Techno Rock
11.M.Rodriguez Vs. Snoop Dog - Drop Hot Discoteca
12.DJ Oggy - Go All Night (Extended Mix)
13.Stefy De Cicco - Alive
14.Vion Konger - DANCE (Extended Mix)
15.Girls Like You & Dimax White - Macarena
16.Alex M.Vs. Marc Van Damme - Por Que No (Original Mix)
17.Feel The Beat feat PAENDA - Darude
18.East Clubbers - Sextasy (Remix)
19.Snoop Dogg & David Guetta - Sweat
20.Asco feat. Veronika - Disco Party (Original Mix)
21.Hr. Troels - La Isla Bonita (Collini Moomba Edit)
22.Mc Baratinha - Reboladinha (Remix)
23.DJ JEAN & LALZIN X MIKRO X FILIP PHILIPS - Feel It, Darling (2026)
24.Bisken - I Knew You Were Trouble (Extended Mix)
25.Stefy De Cicco - Alive (Extended Mix)
26.LUNAX & YAMAS & Vivi Minu & LION HARRIS - Mein Herz
27.Colin Charisma - She Tore Up The Dancefloor (Original Mix)
28.Mike Candys - Naughty (Extended Mix)
29.Tiësto & Dido - Thank You (Remix)
30.Ishimaru, Trevizan - Take Control (Extended Mix)