...( Info )...
Genre: Hard Rock / Stoner
Country of artist (band): Monterrey, Nuevo León, México
Year of publication: 2015-2024
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 04:06:02

...( TrackList )...
Albums:
2017 - XXI Century Blood (00:52:56)
2018 - Queen of the Murder Scene (00:51:18)
2022 - ERROR (00:48:56)
2024 - Keep Me Fed (00:38:45)
EP:
2015 - Escape the Mind (00:23:14)
2021 - MAYDAY (00:22:18)
Singles:
2019 - Narcisista (00:04:11)
2021 - Enter Sandman (feat. Alessia Cara) (Metallica Cover) (00:04:22)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To mocny, przekonujący debiut, który z perspektywy czasu pokazuje zwartą jednostkę, która była przeznaczona do bycia wielką!!!



Debut studio EP from this twisted Colorado death metal legion. New recording of four previously released tracks from their nearly impossible-to-find demo tapes. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.



..::TRACK-LIST::..

1. The Vth Tablet (Of Enûma Eliš) 3:45
2. Obfuscating The Linear Threshold 4:20
3. Hovering Lifeless 3:52
4. Subterranean Aeon 6:08



..::OBSADA::..

Vocals, Synthesizer [Moog] - Paul Riedl
Drums - Isaac Faulk
Guitar - Morris Kolontyrsky, Paul Riedl
Bass [Fretless Bass (Session)] - Damon Good




https://www.youtube.com/watch?v=p5Owk4Xt6jE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To mocny, przekonujący debiut, który z perspektywy czasu pokazuje zwartą jednostkę, która była przeznaczona do bycia wielką!!!



Debut studio EP from this twisted Colorado death metal legion. New recording of four previously released tracks from their nearly impossible-to-find demo tapes. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.



..::TRACK-LIST::..

1. The Vth Tablet (Of Enûma Eliš) 3:45
2. Obfuscating The Linear Threshold 4:20
3. Hovering Lifeless 3:52
4. Subterranean Aeon 6:08



..::OBSADA::..

Vocals, Synthesizer [Moog] - Paul Riedl
Drums - Isaac Faulk
Guitar - Morris Kolontyrsky, Paul Riedl
Bass [Fretless Bass (Session)] - Damon Good




https://www.youtube.com/watch?v=p5Owk4Xt6jE



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

..::INFO::..

---------------------------------------------------------------------
Lombard - Anatomia
---------------------------------------------------------------------

Artist...............: Lombard
Album................: Anatomia
Genre................: Rock
Source...............: CD
Year.................: 2000
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Quality..............: Lossless, (avg. compression: 63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Koch International

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

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

1. Lombard - Anatomia - ja płynę, płynę [03:53]
2. Lombard - Ckliwy melodramat [04:48]
3. Lombard - Gołębi puch [04:22]
4. Lombard - Mam dość [03:45]
5. Lombard - Wstęga Mobiusa [04:12]
6. Lombard - Kryształowa [03:21]
7. Lombard - 5 lipca [03:44]
8. Lombard - Anka [04:42]
9. Lombard - Zaklęty sejf [03:29]
10. Lombard - Spal go [03:29]
11. Lombard - Nasz ostatni taniec [04:15]
12. Lombard - Kto mi zapłaci za łzy [04:09]
13. Lombard - Płonąca stodoła [02:43]

Playing Time.........: 50:59
Total Size...........: 325,82 MB

..::INFO::..

---------------------------------------------------------------------
Lombard - Szara maść
---------------------------------------------------------------------

Artist...............: Lombard
Album................: Szara maść
Genre................: Rock
Source...............: CD
Year.................: 1992
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Quality..............: Lossless, (avg. compression: 63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Spin Records

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

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

1. Lombard - Stan gotowości [04:55]
2. Lombard - Plaża fok [04:56]
3. Lombard - Bezcieleśni - bezszelestni [05:01]
4. Lombard - Darwiniści [03:18]
5. Lombard - Wąwóz Kolorado [06:21]
6. Lombard - Czeski film [04:05]
7. Lombard - Szara maść [04:42]
8. Lombard - EKG [04:52]
9. Lombard - Ocalić serca [04:25]
10. Lombard - Gino [03:32]
11. Lombard - List nocą [03:44]
12. Lombard - Odejść bez pożegnań [03:53]
13. Lombard - To tylko moment [04:41]

Playing Time.........: 58:31
Total Size...........: 368,39 MB

TRACKLISTA:

1. Maximum Feat. Vixen
2. W Moich Butach 4 Feat. Kacper
3. Mama Mi Mówiła Feat. Adma
4. Armagedon Feat. Kleszcz
5. Bulletproof Feat. Sylwia Lipka
6. Moment Feat. Bronx7
7. Tytan Feat. K-Leah
8. Kłamcy Feat. Paulina Chmura
9. Cypher 2 Feat. Aron X Krux, Floral Bugs, Vin Vinci, Budzik


DANE TECHNICZNE:

Wielkość uploadu: 55,8 MB
Format/Kodek: Mp3

...( Info )...

Artist: Various Artists
Album: Western Jams
Year: 2025
Genre: Country, Folk
Format: mp3 320 kbps

...( TrackList )...

01. Redferrin - Downhome Dreams
02. Angela Hacker - I Was Country When Country Wasn't Cool (From Nashville Star Season 5)
03. Randall King - Middle of Nowhere Church
04. Mason Ramsey - She Got It Outta Me
05. Jake Kohn - Frostbite
06. Jamey Johnson - Mama's Table
07. Charlie Worsham - How I Learned to Pray (feat. Luke Combs)
08. Chase Matthew - Come Get Your Memory
09. Morgane Stapleton - You Are My Sunshine (feat. Chris Stapleton)
10. Kenny Chesney - Love for Love City (feat. Ziggy Marley)
11. Austin Snell - Muddy Water Rockstar
12. Zach Bryan - Sandpaper (feat. Bruce Springsteen)
13. Sam Barber - Better Year
14. Travis Tritt - T-R-O-U-B-L-E (2003 Remaster)
15. Chase Matthew - Small Town Shit
16. Mark O Connor - New Country
17. Travis Tritt - The Whiskey Ain't Workin' (feat. Marty Stuart)
18. Gabby Barrett - Cowboy Back
19. James Otto - For You
20. Tracy Lawrence - Can't Break It to My Heart

...( Info )...

Artist: Various Artists
Album: Soft Classical Calming Music
Year: 2025
Genre: Classic
Format: mp3 320 kbps

...( TrackList )...

01. David Parry - Orchestral Suite No. 3 in D Major, BWV 1068 II. Air
02. Martin Hederos - Gymnopédie No. 1 Revisited
03. Henrik Måwe - Bagatelle in A Minor, WoO 59 Für Elise
04. David Parry - Peer Gynt Suite No. 1, Op. 46 I. Morning Mood
05. Axel Gillison - Gnossiennes No. 1, Lent
06. Anton Nanut - Xerxes, HWV 40, Act I Ombra mai fu
07. Craig Ogden - Cavatina
08. Dubravka Tomsic - Liebesträume, S. 541 No. 3, Oh Lieb, so lang du lieben kannst
09. Johannes Bornlof - River Flows in You
10. Christian Ehwald - Peer Gynt Suite No. 2, Op. 55 IV. Solveigs Song
11. Peter Schmalfuss - Préludes, Op. 28 No. 15 in D-Flat Major Raindrops. Sostenuto
12. Henrik Måwe - Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 Moonlight I. Adagio sostenuto
13. Klaus Arp - Chamber Concerto in D Major, RV 93 II. Largo
14. Peter Schmalfuss - Deux arabesques, L. 66 No. 1 in E Major. Andantino con moto
15. Mikhail Gantvarg - Piano Concerto No. 23 in A Major, K. 488 II. Adagio
16. David Parry - Pavane, Op. 50
17. Axel Gillison - Lyric Pieces, Op. 47 No. 3, Melody
18. Dubravka Tomsic - Consolations, S. 172 III. Lento placido in D-Flat Major
19. David Parry - Les contes d'Hoffmann, Act III Belle nuit, ô nuit d'amour Barcarolle (Arr. Perry)
20. David Parry - Canon and Gigue in D Major, P. 37 I. Canon
21. Martin Hederos - Reflections on Pièces froides, Set 1 Airs à faire fuir No. 2, Modestemente
22. Sonja Prunnbauer - Suite in G Minor, BWV 995 V. Gavotte I - Gavotte II en Rondeau
23. Zdenek Kosler - Serenade No. 10 in B-Flat Major, K. 361 Gran Partita III. Adagio
24. Peter Schmalfuss - Études, Op. 10 No. 3 in E Major Tristesse
25. Sylvia Capova - Préludes, Op. 28 No. 7 in A Major. Andantino
26. Marko Munih - Valse Triste, Op. 44
27. Alun Francis - Violin Concerto in G Minor, BWV 1056R II. Arioso. Largo
28. Eduardo Marturet - Melodies of the Heart, Op. 5 III. I Love You
29. Ilmar Lapinsch - Suite Bergamasque, L. 75 III. Clair de lune (Arr. for Orchestra)
30. Zdenek Dejmek - Violin Concerto in D Major, RV 230 II. Larghetto
31. Zdenek Dejmek - The Four Seasons, Violin Concerto No. 4 in F Minor, RV 297 Winter II. Largo
32. Stockholm Chamber Duo - Le Carnaval des Animaux, R. 125 XIII. Le Cygne
33. Ilmar Lapinsch - Messe à trois voix in A Major, Op. 12 V. Panis Angelicus. Poco lento
34. Gerhard Schmidt-Gaden - Ave Maria, CG 89a
35. Martin Hederos - Ogive No. 3
36. Peter Schmalfuss - Préludes, Book I, L. 117 No. 8, La fille aux cheveux de lin
37. Libor Pešek - Holberg Suite, Op. 40 II. Sarabande. Andante
38. Eduardo Marturet - Four Songs, Op. 27 IV. Morgen
39. Howard Griffiths - Oboe Concerto in D Minor, Op. 9 No. 2 II. Adagio
40. Carmen Piazzini - Piano Sonata No. 12 in F Major, K. 332 II. Adagio

..::INFO::..

---------------------------------------------------------------------
Lombard - Wolne od cła
---------------------------------------------------------------------

Artist...............: Lombard
Album................: Wolne od cła
Genre................: Rock
Source...............: CD
Year.................: 1999
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Quality..............: Lossless, (avg. compression: 61 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Koch International

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

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

1. Lombard - Wolne od cła [03:11]
2. Lombard - Miny na pokaz czyny za grosz [03:08]
3. Lombard - Dwa słowa, dwa światy [06:44]
4. Lombard - Adriatyk, ocean gorący [06:41]
5. Lombard - Aku - Hara, kraj ze snu [04:28]
6. Lombard - Kradzież nie popłaca [05:09]
7. Lombard - Skąd ja to znam [03:57]
8. Lombard - Dalej, coraz dalej [04:33]
9. Lombard - Szklana pogoda [03:30]
10. Lombard - Droga pani z TV [04:02]
11. Lombard - Posłanie do pana A [04:20]

Playing Time.........: 49:49
Total Size...........: 301,62 MB

..::INFO::..

---------------------------------------------------------------------
Lombard - Śmierć dyskotece
---------------------------------------------------------------------

Artist...............: Lombard
Album................: Śmierć dyskotece
Genre................: Rock
Source...............: CD
Year.................: 1999
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20070917
Quality..............: Lossless, (avg. compression: 67 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Koch International

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

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

1. Lombard - Śmierć dyskotece! [02:52]
2. Lombard - Na skróty do piekła [03:10]
3. Lombard - Droga Pani z TV [03:09]
4. Lombard - Rdza [04:07]
5. Lombard - Ekspress stąd do nieba [03:06]
6. Lombard - Taniec pingwina na szkle [04:21]
7. Lombard - Diamentowa kula [04:29]
8. Lombard - Stary ból [02:57]
9. Lombard - O jeden dreszcz [03:05]
10. Lombard - Mniej niż nic [03:18]
11. Lombard - Koszmarna kołysanka [03:15]
12. Lombard - Gwiazdy rock and rolla [03:40]
13. Lombard - Bez zysków, bez strat [04:01]
14. Lombard - Błądząc, wędrując [04:06]
15. Lombard - Dworzec pełen snów [04:37]
16. Lombard - Wielki grzech [03:18]
17. Lombard - Przeżyj to sam [05:04]

Playing Time.........: 01:02:42
Total Size...........: 421,06 MB

Howard Shore - Crimes of the Future (2022) [MP3]

Genre: Soundtrack
Date: 2022
Country: Canada
Audio codec: MP3
Quality: 320kbs
Playtime: 38:22

...( TrackList )...

01. Crimes of the Future (2:11)
02. A Novel Organ (1:29)
03. Caprice (2:09)
04. Sark Lust (0:31)
05. Body Is Reality (2:59)
06. Brecken (2:47)
07. Klinek (3:18)
08. Primordial Rapture (2:48)
09. Router & Berst (1:23)
10. Inner Beauty Pageant (1:19)
11. Deviant Digestive System (1:34)
12. Surgery Is The New Sex (0:54)
13. Odile (1:17)
14. The Old Sex (1:12)
15. First Autopsy (6:23)
16. Time To Try (3:19)
17. The Future (2:57)

Tony Morales - Reacher Season 2 (2023) [MP3]

Genre: Soundtrack
Date: 2023
Country: USA
Audio codec: MP3
Quality: 320kbs
Playtime: 1:06:02

...( TrackList )...

1. Swan is Dead (1:44)
2. Boots in Concrete (4:26)
3. The Kid Knows Something (1:34)
4. Three Guesses (2:11)
5. Burning Passports (1:02)
6. Lucky Lounge (1:14)
7. Trashed Office (2:07)
8. Dead Snow Man (1:19)
9. Biker Fight (1:40)
10. Marlo’s Place (1:54)
11. Backing in to New Age (1:48)
12. Ten Days Earlier (2:23)
13. Post Office Box Search (1:33)
14. Eighteen Wheeler Shootout (2:32)
15. Funeral (6:41)
16. Gorilla Cage (2:34)
17. Reacher Under Fire (2:16)
18. Train Thugs Killed (2:28)
19. Sacrifice (1:56)
20. Russo’s End (1:35)
21. Last Bit of Goodwill (1:47)
22. Don’t Need A Search Warrant (2:30)
23. Battle With Buyers (3:38)
24. Bone Saw Attack (1:49)
25. Reacher Inspires (1:38)
26. Swan’s Parts (3:01)
27. Helicopter Hang (5:03)
28. One Last Picture (1:51)

Tony Morales - Reacher (2022) [MP3]

Genre: Soundtrack
Date: 2022
Country: USA
Audio codec: MP3
Quality: 320kbs
Playtime: 1:13:52

...( TrackList )...

1. Gonna Need a Gun (1:28)
2. Reacher Preps (2:04)
3. You’re in the Hold (0:56)
4. Reacher Makes His Move (1:05)
5. Nailed to a Wall (4:33)
6. The Hydra (1:48)
7. Dead Brother (3:24)
8. Into the Pond (2:44)
9. Roscoe Followed (1:09)
10. A Matter of Degree (2:59)
11. Access Gained (2:16)
12. Reacher Follows (0:51)
13. Hubble Confesses (2:37)
14. Subway Exchange (2:07)
15. Mechanical Failure (1:37)
16. The Slap (1:49)
17. Animal Feed (2:36)
18. Body in the Trunk (1:17)
19. Motel Creeping (3:13)
20. Hubble’s Shock (2:11)
21. More Dead Bodies (2:07)
22. Joe’s Garment Bag (3:20)
23. Bad News, Bad Guys (2:26)
24. Killing Floor (3:14)
25. Reacher vs Dawson (3:10)
26. How They Did It (3:32)
27. Finlay Beaten (1:12)
28. You Hesitate You Die (1:58)
29. Saving Hubble’s Wife (2:40)
30. Rhinoceros (2:06)
31. Up in Flames (2:31)
32. Burying the Medal (1:16)
33. Close to the Flame (1:54)

Tim Davies, Gustavo Santaolalla - Maya and The Three (2021) [MP3]

Genre: Soundtrack
Date: 2021
Country: USA
Audio codec: MP3
Quality: 320 kbps
Playtime: 1:46:00

...( TrackList )...

1. Maya’s Theme (from “Maya and The Three” soundtrack) (3:09)
2. The Tecas Ride (from “Maya and The Three” soundtrack) (3:23)
3. Maya Begins (3:32)
4. Vaiven (3:50)
5. Rooster Skull Puma (4:00)
6. Teca Attacks (2:22)
7. Bolom Chon (3:23)
8. Mentira (3:03)
9. Luna Y Selva (5:59)
10. Rico the Rooster Wizard (3:33)
11. Chimi’s Theme (3:26)
12. Chimi the Skull Archer (3:04)
13. Cabrakan and Cipacti (3:46)
14. Hura Can (2:25)
15. Picchu’s Theme (4:50)
16. Picchu the Puma Warrior (2:58)
17. Huapangoso (3:00)
18. Ah Puch the Mysterious Goddess (2:50)
19. Zatz the Prince of Bats (0:57)
20. Madres (3:40)
21. Lord Mictlan and Acat (3:47)
22. Strong Medicine (1:53)
23. The Three Fight (4:21)
24. The Divine Gate (3:34)
25. Esqueletos (4:06)
26. Micte’s Flashback (2:29)
27. The Greatest Wizard (2:28)
28. Ouroboros, the Final Fight (2:57)
29. The Moon and the Sun (6:54)
30. El Raspon (2:10)
31. Ronroco (4:27)

Elliot Goldedtal & VA - Heat (Complete Edition) (1995) M4A

Genre: Score / Soundtrack
Date: 2020 (1995)
Country: USA
Audio codec: M4A/FLAC
Quality: 320 kbs/lossless
Playtime: 2:57:52

Thanks to Santi

CD1
1. The Kronos Quartet – Heat (8:32)
2. Elliot Goldenthal – Of Helplessness (2:41)
3. Elliot Goldenthal – Condensers (2:34)
4. The Kronos Quartet – Refinery Surveillance (1:45)
5. Elliot Goldenthal – Agitato (3:26)
6. Elliot Goldenthal – Of Unchangeableness (2:08)
7. Elliot Goldenthal – Fate Scrapes (1:37)
8. Elliot Goldenthal – Quietude (1:36)
9. Elliot Goldenthal – Coffee Shop (1:39)
10. Elliot Goldenthal – Entrada & Shootout (2:01)
11. Elliot Goldenthal – Run Uphill (2:52)
12. Elliot Goldenthal – Night Surveillance (6:38)
13. Elliot Goldenthal – Shootout Cacophonia (2:11)
14. Elliot Goldenthal – Steel Cello Lament (1:43)
15. The Kronos Quartet – Predator Diorama (2:40)
16. Elliot Goldenthal – Of Separation (2:19)
17. Elliot Goldenthal – Finale (3:11)

CD2
1. Passengers – Always Forever Now (6:24)
2. James – Arabic Agony (3:58)
3. Solitaire, Steve Roach, Elmar Schulte – Black Cloud (6:29)
4. William Orbit – Gringatcho Demento (6:38)
5. New World Beat – Get Up to This (3:56)
6. Brian Eno – Force Marker (1:33)
7. Lisa Gerrard – La Bas (Song of the Drowned) (7:41)
8. Terje Rypdal & The Chasers – Last Nite (3:31)
9. Moby – New Dawn Fades (5:33)
10. William Orbit – The Mighty Limpopo (4:20)
11. Eric Clapton – Will Gaines (3:50)
12. House Of Pain – Top O’ The Morning To Ya (3:37)
13. Michael Brook – Ultramarine (4:34)
14. Terje Rypdal – Mystery Man (4:40)
15. Lisa Gerrard – Celon (6:07)
16. Jean-Guihen Queyras, Ensemble InterContemporain, Pierre Boulez – Ligeti: Concerto for Cello and Orchestra – 1. Quarter = 40: Attacca (6:54)
17. Jean-Guihen Queyras, Ensemble InterContemporain, Pierre Boulez – Ligeti: Concerto for Cello and Orchestra – 2. (Lo stesso tempo) (8:19)
18. William Orbit – The Last Lagoon (4:20)
19. B.B. King – The Thrill Is Gone (5:31)
20. Brian Eno – Late Evening In Jersey (4:38)
21. Einsturzende Neubauten – Armenia (5:00)
22. William Orbit (Featuring Laurie Mayer) – Monkey King (5:15)
23. David Darling – In November (4:35)
24. Lisa Gerrard – Gloradin (3:56)
25. Moby – God Moving Over the Face of the Waters (6:59)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album amerykańskiej death/grindowej formacji Lividity z 2000 roku wznowiony z nową oprawą graficzną.


Lividity. A brutal death band formed out of Illinois. Have established themselves as one of the sickest bands within extreme metal. But you may ask yourself. How have Lividity, a seemingly goofy prono gore death band? Rose in popularity as one of the best brutal death metal bands? Well, I’m here to say that Lividity is not only a fantastic death metal band. They fit perfectly together with bands like Regurgitation, Gorgasm, Deaden, and Skinless. And aren’t some joke of a band.

If you can get past all the dumb and goofy samples. This album is ruthless in its attack. The album is straightforward, fast, hooky, and groovy as fuck. Much like Waco Jesus, they have that tongue-in-cheek type of imagery and gory lyrics. But once again if you look just at the music. This is a very tight and brutal fucking album. Filled with everything a brutal death fan would love. And that’s a good production quality, chunky double bass, and memorable groovy riffs.

As I stated this album has a raw yet tasty mix and production quality. The guitars have a good low crunch to them, and the bass is probably more prominent or as prominent as the guitars. The bass has a great groovy tone that is heard across the whole album. The drums have a good meat and potatoes sound, and while the snare may be a tad quieter than the kick drums or the cymbals. Mainly during some blasts and turnovers. It still delivers a hella satisfying feeling and punch. Vocally this is way up in the mix. In a good way of course. It’s fucking sick overall.

This album is filled to the brim with yummy hooks and riffing. Songs like “Chamber of Bone” and “Oozing Vaginal Discharge” are packed full of meaty tremolos and obnoxious grooves. It isn’t all just blasts and frantic chords as well. You get some slower and doomy riffs and beats on the song “Anal Action Wife”. So there’s a good amount of variety of nice riffing and Slammy rhythms. You get a lot of good chugging palm-muted guitar riffs as well. But mainly it’s those nice grooves and tremolos that propel this record.

The album is a short yet sweet bash to the skull. There’s a ton of old-school death metal riffage thrown into the mix as well. So you kinda get a feel of both brutal death and osdm. Of course, those wouldn’t be complete without heavy ass Suffocation like breakdowns and riff patterns. The kinda riffs that have that creepy crawl feel to them. That is guaranteed to make your skin crawl as well.

Vocally it’s brutal as fuck as expected. You get two main vocal ranges here. You have Matt Bishop doing guitar and the lower gutturals. And then you got Dave Kibler on the other guitar doing higher shrieks as backup vocals. Both have a good vocal flow and bounce back and forth between each other perfectly. They also tend to be used at the same time layered on top of each other. Which sounds ungodly brutal. Overall the vocals have a good trade-off and flow well.

Finally, we got them drums. The drums on here are as blasty as you can expect. Tons of frantic blast beats, pummeling double bass, and heavy drum grooves are all over this fucking thing. Including the more slower doom-like sections that the guitars showcase as well. The drums are hella tight and flow well with the guitars and vocals on this album. While the drums are slightly quieter than everything else they don’t fail at delivering sickening brutality.

In conclusion, this album is an underrated classic in brutal death metal. Like I said if you can get past the goofy samples which is kinda the band's stick at this point. It’s a very well-written and tight brutal death metal album. But this is brutal death metal. Of course, it’s gonna be overly stupid and goofy. It’s sick and gory. The way extreme death metal should be. So give this band a chance. Because this truly is some very memorable and hooky brutal death metal. Good shit.

FFO: Suffocation, Deaden, Waco Jesus, Regurgitation, Broken Hope, FleshGrind, Skinless

Traumawillalwayslinger



..::TRACK-LIST::..

1. Oozing Vaginal Discharge 03:53
2. The Urge to Splurge 01:37
3. Chamber of Bone 04:27
4. Anal Action Wife 04:38
5. Stench of Virginity 04:56
6. Food 03:55
7. Dismembering Her Lifeless Corpse 05:04
8. Bloody Horror (Impetigo cover) 03:11
9. Sodomy Ritual 03:06



..::OBSADA::..

Bass - Mike 'Papa' Smith
Drums - Nick Null
Additional Vocals - Aaron Heath, Rich Lipscomb
Guitar, Backing Vocals - Dave Kibler
Guitar, Vocals - Matt Bishop




https://www.youtube.com/watch?v=f6g8xR07JoA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album amerykańskiej death/grindowej formacji Lividity z 2000 roku wznowiony z nową oprawą graficzną.


Lividity. A brutal death band formed out of Illinois. Have established themselves as one of the sickest bands within extreme metal. But you may ask yourself. How have Lividity, a seemingly goofy prono gore death band? Rose in popularity as one of the best brutal death metal bands? Well, I’m here to say that Lividity is not only a fantastic death metal band. They fit perfectly together with bands like Regurgitation, Gorgasm, Deaden, and Skinless. And aren’t some joke of a band.

If you can get past all the dumb and goofy samples. This album is ruthless in its attack. The album is straightforward, fast, hooky, and groovy as fuck. Much like Waco Jesus, they have that tongue-in-cheek type of imagery and gory lyrics. But once again if you look just at the music. This is a very tight and brutal fucking album. Filled with everything a brutal death fan would love. And that’s a good production quality, chunky double bass, and memorable groovy riffs.

As I stated this album has a raw yet tasty mix and production quality. The guitars have a good low crunch to them, and the bass is probably more prominent or as prominent as the guitars. The bass has a great groovy tone that is heard across the whole album. The drums have a good meat and potatoes sound, and while the snare may be a tad quieter than the kick drums or the cymbals. Mainly during some blasts and turnovers. It still delivers a hella satisfying feeling and punch. Vocally this is way up in the mix. In a good way of course. It’s fucking sick overall.

This album is filled to the brim with yummy hooks and riffing. Songs like “Chamber of Bone” and “Oozing Vaginal Discharge” are packed full of meaty tremolos and obnoxious grooves. It isn’t all just blasts and frantic chords as well. You get some slower and doomy riffs and beats on the song “Anal Action Wife”. So there’s a good amount of variety of nice riffing and Slammy rhythms. You get a lot of good chugging palm-muted guitar riffs as well. But mainly it’s those nice grooves and tremolos that propel this record.

The album is a short yet sweet bash to the skull. There’s a ton of old-school death metal riffage thrown into the mix as well. So you kinda get a feel of both brutal death and osdm. Of course, those wouldn’t be complete without heavy ass Suffocation like breakdowns and riff patterns. The kinda riffs that have that creepy crawl feel to them. That is guaranteed to make your skin crawl as well.

Vocally it’s brutal as fuck as expected. You get two main vocal ranges here. You have Matt Bishop doing guitar and the lower gutturals. And then you got Dave Kibler on the other guitar doing higher shrieks as backup vocals. Both have a good vocal flow and bounce back and forth between each other perfectly. They also tend to be used at the same time layered on top of each other. Which sounds ungodly brutal. Overall the vocals have a good trade-off and flow well.

Finally, we got them drums. The drums on here are as blasty as you can expect. Tons of frantic blast beats, pummeling double bass, and heavy drum grooves are all over this fucking thing. Including the more slower doom-like sections that the guitars showcase as well. The drums are hella tight and flow well with the guitars and vocals on this album. While the drums are slightly quieter than everything else they don’t fail at delivering sickening brutality.

In conclusion, this album is an underrated classic in brutal death metal. Like I said if you can get past the goofy samples which is kinda the band's stick at this point. It’s a very well-written and tight brutal death metal album. But this is brutal death metal. Of course, it’s gonna be overly stupid and goofy. It’s sick and gory. The way extreme death metal should be. So give this band a chance. Because this truly is some very memorable and hooky brutal death metal. Good shit.

FFO: Suffocation, Deaden, Waco Jesus, Regurgitation, Broken Hope, FleshGrind, Skinless

Traumawillalwayslinger



..::TRACK-LIST::..

1. Oozing Vaginal Discharge 03:53
2. The Urge to Splurge 01:37
3. Chamber of Bone 04:27
4. Anal Action Wife 04:38
5. Stench of Virginity 04:56
6. Food 03:55
7. Dismembering Her Lifeless Corpse 05:04
8. Bloody Horror (Impetigo cover) 03:11
9. Sodomy Ritual 03:06



..::OBSADA::..

Bass - Mike 'Papa' Smith
Drums - Nick Null
Additional Vocals - Aaron Heath, Rich Lipscomb
Guitar, Backing Vocals - Dave Kibler
Guitar, Vocals - Matt Bishop




https://www.youtube.com/watch?v=f6g8xR07JoA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tej płyty miało w zasadzie nie być. Widziałem kapitalny koncert grupy Graveyard w Dreźnie, w listopadzie 2015 roku. Promowali wtedy album Innocence & Decadence, który – z perspektywy czasu – jednak cenię mniej niż choćby płytę Lights Out, wciąż pozostającą moim ulubionym krążkiem tej szwedzkiej formacji. Kilka miesięcy później panowie ogłosili, że kończą działalność. Szok dość spory, tym bardziej, że to absolutna czołówka sceny retro i jedna z tych formacji, które tę modę w muzyce zaczęły kilka lat temu przywracać. Na szczęście muzycy długo w swoim postanowieniu nie wytrwali. Lekko się przegrupowali (w ekipie jest nowy perkusista) i zapowiedzieli, że będą łoili dalej. I łoją, oj łoją.

I to łoją od pierwszej sekundy nowej płyty zatytułowanej Peace. It Ain’t Over Yet tytułem idealnie pasuje do sytuacji i na pewno nie jest to przypadek. Haloooo, to jeszcze nie wszystko, jeszcze mamy coś do pokazania światu. I całe szczęście. Niektórzy narzekali na brak pazura na ostatnim krążku grupy. Na Peace zespół jakby chciał od razu te osoby uspokoić i na sam start serwuje właśnie It Ain’t Over Yet oraz Cold Love – numery z pazurem jak u Gail Devers. Ale do mnie akurat dużo bardziej przemawia najspokojniejszy na albumie See the Day, który następuje po nich – kapitalny, bardzo subtelny, niesamowicie bujający numer nieco bardziej w klimatach spokojniejszych rzeczy Lights Out. Niejako mieszanką tej „bujalności” ostatniego numeru i drapieżności dwóch poprzednich kawałków jest z kolei Please Don’t – trudno pomylić Graveyard z kimkolwiek innym, gdy grają w tych klimatach. To był zresztą pierwszy singiel z tej płyty. Drugi – The Fox – jest prostszy, krótszy (najkrótszy z całej dziesiątki) i nie robi na mnie aż takiego wrażenia, bo i na niewiele jest tu czas poza mocnym zdzieleniem słuchacza lewym wiolinowym, choć sama melodia nawet skutecznie wpada w ucho.

Jesteśmy mniej więcej w połowie płyty i to jest ten moment, kiedy Peace stopniowo wchodzi na wyższy poziom. Nie żeby wcześniej było źle. Słuchało się tych kilku numerów przednio, ale brakowało mi „efektu łał”. Walk On porywa dynamiką i intensywnością, a jednocześnie zaskakuje lekko psychodelicznym złamaniem schematu w części drugiej. Del Manic to chyba po pierwszych odsłuchach moja ulubiona kompozycja na nowej płycie – nic w sumie dziwnego, skoro klimatem przypomina Hard Times Lovin’ ze wspominanej tu już płyty Lights Out, który to utwór jest moim ulubionym w dyskografii Szwedów. Del Manic prezentuje idealny balans blues-rockowej „bujalności” i klimatów lekkiej grozy i niepokoju. Buja także kapitalnie, choć na większej intensywności, w Bird of Paradise. Za takie klimaty jak w tych ostatnich dwóch numerach najbardziej cenię ten zespół. Intensywniejsze granie wcale nie musi oznaczać braku wpadającej w ucho melodii, a panowie z Graveyard są prawdziwymi mistrzami w łączeniu ciężaru i gęstości z chwytliwością. Taka mieszanka obowiązuje zresztą już do końca tej płyty – najpierw w wydaniu cięższym (A Sign of Peace), a potem bardziej luzackim i nawet może lekko rockandrollowym (w Low). I aż szkoda, że na tym album się kończy, choć przecież długość tej płyty jest w zasadzie idealna – 42 minuty.

Mam wrażenie, że Peace to taka próba przypomnienia się fanom po tej krótkiej na szczęście przerwie i pokazania wszystkiego tego, z czego Graveyard jest najlepiej znany. Mamy tu zatem zarówno dzikość i dynamikę wczesnych płyt, jak i blues-rockowe zapędy i pięknie bujające numery charakterystyczne w największym stopniu dla Lights Out. Ci, którzy kręcili trochę nosem na poprzedni album, powinni być zadowoleni z tego, że grupa jednak nie wygładza przesadnie brzmienia i nie idzie w muzykę łatwą i przyjemną. Peace z pewnością będzie sporym wydarzeniem na europejskiej scenie hardrockowej w tym roku, bo musi być. To po prostu zespół takiego kalibru, że każda nowa płyta musi narobić sporo hałasu – tak dosłownie, jak i w przenośni. Wspaniale, że wrócili – i to jeszcze w takim stylu. Scena rockowa po prostu potrzebuje tego zespołu.

Bizon



..::TRACK-LIST::..

1. It Ain't Over Yet 3:39
2. Cold Love 4:53
3. See The Day 3:09
4. Please Don't 4:12
5. The Fox 2:38
6. Walk On 5:22
7. Del Manic 4:26
8. Bird Of Paradise 3:42
9. A Sign Of Peace 3:41
10. Low (I Wouldn't Mind) 6:36



..::OBSADA::..

Joakim Nilsson - vocals, guitar
Truls Mörck - bass, vocals track 3 and 8
Oskar Bergenheim - drums
Jonatan Ramm - guitar




https://www.youtube.com/watch?v=A4-MuJ-kBUU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tej płyty miało w zasadzie nie być. Widziałem kapitalny koncert grupy Graveyard w Dreźnie, w listopadzie 2015 roku. Promowali wtedy album Innocence & Decadence, który – z perspektywy czasu – jednak cenię mniej niż choćby płytę Lights Out, wciąż pozostającą moim ulubionym krążkiem tej szwedzkiej formacji. Kilka miesięcy później panowie ogłosili, że kończą działalność. Szok dość spory, tym bardziej, że to absolutna czołówka sceny retro i jedna z tych formacji, które tę modę w muzyce zaczęły kilka lat temu przywracać. Na szczęście muzycy długo w swoim postanowieniu nie wytrwali. Lekko się przegrupowali (w ekipie jest nowy perkusista) i zapowiedzieli, że będą łoili dalej. I łoją, oj łoją.

I to łoją od pierwszej sekundy nowej płyty zatytułowanej Peace. It Ain’t Over Yet tytułem idealnie pasuje do sytuacji i na pewno nie jest to przypadek. Haloooo, to jeszcze nie wszystko, jeszcze mamy coś do pokazania światu. I całe szczęście. Niektórzy narzekali na brak pazura na ostatnim krążku grupy. Na Peace zespół jakby chciał od razu te osoby uspokoić i na sam start serwuje właśnie It Ain’t Over Yet oraz Cold Love – numery z pazurem jak u Gail Devers. Ale do mnie akurat dużo bardziej przemawia najspokojniejszy na albumie See the Day, który następuje po nich – kapitalny, bardzo subtelny, niesamowicie bujający numer nieco bardziej w klimatach spokojniejszych rzeczy Lights Out. Niejako mieszanką tej „bujalności” ostatniego numeru i drapieżności dwóch poprzednich kawałków jest z kolei Please Don’t – trudno pomylić Graveyard z kimkolwiek innym, gdy grają w tych klimatach. To był zresztą pierwszy singiel z tej płyty. Drugi – The Fox – jest prostszy, krótszy (najkrótszy z całej dziesiątki) i nie robi na mnie aż takiego wrażenia, bo i na niewiele jest tu czas poza mocnym zdzieleniem słuchacza lewym wiolinowym, choć sama melodia nawet skutecznie wpada w ucho.

Jesteśmy mniej więcej w połowie płyty i to jest ten moment, kiedy Peace stopniowo wchodzi na wyższy poziom. Nie żeby wcześniej było źle. Słuchało się tych kilku numerów przednio, ale brakowało mi „efektu łał”. Walk On porywa dynamiką i intensywnością, a jednocześnie zaskakuje lekko psychodelicznym złamaniem schematu w części drugiej. Del Manic to chyba po pierwszych odsłuchach moja ulubiona kompozycja na nowej płycie – nic w sumie dziwnego, skoro klimatem przypomina Hard Times Lovin’ ze wspominanej tu już płyty Lights Out, który to utwór jest moim ulubionym w dyskografii Szwedów. Del Manic prezentuje idealny balans blues-rockowej „bujalności” i klimatów lekkiej grozy i niepokoju. Buja także kapitalnie, choć na większej intensywności, w Bird of Paradise. Za takie klimaty jak w tych ostatnich dwóch numerach najbardziej cenię ten zespół. Intensywniejsze granie wcale nie musi oznaczać braku wpadającej w ucho melodii, a panowie z Graveyard są prawdziwymi mistrzami w łączeniu ciężaru i gęstości z chwytliwością. Taka mieszanka obowiązuje zresztą już do końca tej płyty – najpierw w wydaniu cięższym (A Sign of Peace), a potem bardziej luzackim i nawet może lekko rockandrollowym (w Low). I aż szkoda, że na tym album się kończy, choć przecież długość tej płyty jest w zasadzie idealna – 42 minuty.

Mam wrażenie, że Peace to taka próba przypomnienia się fanom po tej krótkiej na szczęście przerwie i pokazania wszystkiego tego, z czego Graveyard jest najlepiej znany. Mamy tu zatem zarówno dzikość i dynamikę wczesnych płyt, jak i blues-rockowe zapędy i pięknie bujające numery charakterystyczne w największym stopniu dla Lights Out. Ci, którzy kręcili trochę nosem na poprzedni album, powinni być zadowoleni z tego, że grupa jednak nie wygładza przesadnie brzmienia i nie idzie w muzykę łatwą i przyjemną. Peace z pewnością będzie sporym wydarzeniem na europejskiej scenie hardrockowej w tym roku, bo musi być. To po prostu zespół takiego kalibru, że każda nowa płyta musi narobić sporo hałasu – tak dosłownie, jak i w przenośni. Wspaniale, że wrócili – i to jeszcze w takim stylu. Scena rockowa po prostu potrzebuje tego zespołu.

Bizon



..::TRACK-LIST::..

1. It Ain't Over Yet 3:39
2. Cold Love 4:53
3. See The Day 3:09
4. Please Don't 4:12
5. The Fox 2:38
6. Walk On 5:22
7. Del Manic 4:26
8. Bird Of Paradise 3:42
9. A Sign Of Peace 3:41
10. Low (I Wouldn't Mind) 6:36



..::OBSADA::..

Joakim Nilsson - vocals, guitar
Truls Mörck - bass, vocals track 3 and 8
Oskar Bergenheim - drums
Jonatan Ramm - guitar




https://www.youtube.com/watch?v=A4-MuJ-kBUU



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

..::INFO::..

---------------------------------------------------------------------
Małgorzata Ostrowska - Instynkt (2 CD)
---------------------------------------------------------------------

Artist...............: Małgorzata Ostrowska
Album................: Instynkt
Genre................: Rock
Source...............: CD
Year.................: 2001
Ripper...............: Exact Audio Copy 0.9b4 & Liteon LTN 526
Codec................: Free Lossless Audio Codec (FLAC)
Quality..............: Lossless, (avg. compression: 78 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: ID3 v1.1, ID3 v2.3VorbisComment

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

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

1. (00:03:50) Małgorzata Ostrowska - Śmierć dyskotece
2. (00:04:00) Małgorzata Ostrowska - Mam dość
3. (00:05:38) Małgorzata Ostrowska - Adriatyk, ocean gorący
4. (00:06:18) Małgorzata Ostrowska - Przeżyj to sam
5. (00:03:59) Małgorzata Ostrowska - Znowu radio
6. (00:04:55) Małgorzata Ostrowska - Gołębi puch
7. (00:05:11) Małgorzata Ostrowska - Mister Of America
8. (00:04:45) Małgorzata Ostrowska - Taniec pingwina na szkle
9. (00:04:10) Małgorzata Ostrowska - Jej głos po tamtej stronie
10. (00:03:27) Małgorzata Ostrowska - Szklana pogoda

Playing Time.........: 00:46:13
Total Size...........: 334,34 MB

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

1. (00:04:17) Małgorzata Ostrowska - Słońce które znasz
2. (00:03:16) Małgorzata Ostrowska - Nie chcę, nie umiem
3. (00:03:31) Małgorzata Ostrowska - W bramie
4. (00:04:33) Małgorzata Ostrowska - Stan gotowości
5. (00:03:48) Małgorzata Ostrowska - Ckliwy melodramat
6. (00:03:51) Małgorzata Ostrowska - Odejść bez pożegnań
7. (00:04:08) Małgorzata Ostrowska - Droga pani z TV
8. (00:05:03) Małgorzata Ostrowska - Smak popiołu
9. (00:03:35) Małgorzata Ostrowska - Welcome Home, Bóg w dom

Playing Time.........: 00:36:02
Total Size...........: 263,47 MB

..::INFO::..

---------------------------------------------------------------------
Wanda i Banda - Moje Przeboje
---------------------------------------------------------------------

Artist.........: Wanda i Banda
Album..........: Moje Przeboje
Genre..........: Rock
Source.........: CD
Year...........: 1998
Ripper.........: Exact Audio Copy 0.9b5 & LiteOn LTN526
Codec..........: Free Lossless Audio Codec (FLAC)
Version........: reference libFLAC 1.2.1 20070917
Quality........: Lossless, (avg. compression: 66 %)
Channels.......: Stereo / 44100 HZ / 16 Bit
Tags...........: ID3 v1.1, ID3 v2.3VorbisComment

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

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

1. (00:03:50) Wanda i Banda - Fabryka marzeń
2. (00:03:03) Wanda i Banda - Poczta pantoflowa
3. (00:03:44) Wanda i Banda - Nie będę Julią
4. (00:03:47) Wanda i Banda - Para goni parę
5. (00:04:34) Wanda i Banda - Mamy czas
6. (00:02:43) Wanda i Banda - Cała biała
7. (00:03:53) Wanda i Banda - Siedem życzeń
8. (00:02:55) Wanda i Banda - 6'22
9. (00:04:08) Wanda i Banda - Chcę zapomnieć
10. (00:04:51) Wanda i Banda - Proza życia
11. (00:02:56) Wanda i Banda - Chicago nad Wisłą
12. (00:03:23) Wanda i Banda - Kochaj mnie miły
13. (00:02:56) Wanda i Banda - Bilet na dno
14. (00:04:43) Wanda i Banda - Hi-Fi
15. (00:03:31) Wanda i Banda - Stylowe ramy
16. (00:03:17) Wanda i Banda - Dziewczyny zgubią Cię
17. (00:04:13) Wanda i Banda - Tylko Tobie ogień
18. (00:05:09) Wanda i Banda - Nikomu niczego

Playing Time.........: 01:07:36
Total Size...........: 447,73 MB

...( Info )...


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

...( TrackList )...

01. Dasha - Bye Bye Bye
02. Cameron Whitcomb - Medusa
03. Chase Matthew - Missin' Me Missin' You
04. Zach Bryan - Pink Skies (feat. Watchhouse)
05. Jamey Johnson - Midnight Gasoline
06. Bailey Zimmerman - Hell or High Water (From Twisters The Album)
07. Avery Anna - girl next door
08. Sam Barber - Thought of You
09. Gavin Adcock - Actin’ Up Again
10. Noah Rinker - Red Bandana
11. Ian Munsick - Fixin' Me
12. Paul Cauthen - Black on Black
13. Randy Travis - Where That Came From
14. Redferrin - Ruin My Night
15. Sam Barber - Indigo (feat. Avery Anna)
16. Warren Zeiders - You for a Reason
17. Breland - Same Work (feat. The War And Treaty)
18. Maddox Batson - X's
19. Tanner Usrey - Crossing Lines
20. Orville Peck - Back at Your Door
21. Sam Barber - Better Year
22. Zach Bryan - This World's a Giant
23. Brittney Spencer - Guitar Lady
24. Dipper - Little More Pine
25. Megan Moroney - Never Left Me (From Twisters The Album)
26. Tanner Usrey - Blackberry Wine (From Twisters The Album)
27. Thomas Riley - Angels
28. Tyler Halverson - Closer
29. Pecos & the Rooftops - Sweet Tumbleweed
30. Eli Winders - Famous for a Heartache (feat. Vincent Mason)

...( Info )...

Artist: Various Artists
Album: Classical Sleep Music 50 Soft Calming Pieces
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. David Parry - Pavane, Op. 50
02. Axel Gillison - Orchestral Suite No. 3 in D Major, BWV 1068 II. Air
03. Martin Hederos - Gymnopédie No. 1 Revisited
04. Dubravka Tomsic - Bagatelle in A Minor, WoO 59, Für Elise
05. Peter Schmalfuss - Suite Bergamasque, L. 75 III. Clair de lune
06. Henrik Måwe - Songs Without Words, Op. 30 No. 6, Venezianisches Gondellied. Allegretto tranquillo
07. Johannes Bornlof - Una Mattina
08. Linos Harfenquintett - Quintet for Flute, String Trio and Harp I. Andante tranquillo
09. Freiburger Spielleyt - Saltarello
10. Zdenek Dejmek - Violin Concerto in D Major, RV 230 II. Larghetto
11. Hans-Jurg Strub - Four pieces, Op. 119 I. Intermezzo in B Minor. Adagio
12. Igor Gogol - Cavalleria rusticana Intermezzo
13. Martin Hederos - Reflections on Pièces froides, Set 2 Trois Danses de travers
14. Martin Hederos - Reflections on Pièces froides, Set 1 Airs à faire fuir No. 2, Modestemente
15. Peter Schmalfuss - Deux arabesques, L. 66 No. 1 in E Major. Andantino con moto
16. Stockholm Chamber Duo - Le Carnaval des Animaux, R. 125 XIII. Le Cygne
17. Anton Nanut - Wiegenlied, D. 498 (Arr. for Orchestra)
18. Bohdan Warchal - Serenade for String Orchestra, Op. 20 II. Larghetto
19. Andreas Mühlen - En Rêve, S. 207
20. Peter Schmalfuss - Préludes, Op. 28 No. 15 in D-Flat Major Raindrops. Sostenuto
21. Eduardo Marturet - Melodies of the Heart, Op. 5 III. I Love You
22. Peter Schmalfuss - Études, Op. 10 No. 3 in E Major Tristesse
23. Dubravka Tomsic - Consolations, S. 172 III. Lento placido in D-Flat Major
24. Howard Griffiths - Oboe Concerto in D Minor, Op. 9 No. 2 II. Adagio
25. Sonja Prunnbauer - Suite in G Minor, BWV 995 V. Gavotte I - Gavotte II en Rondeau
26. Zdenek Dejmek - The Four Seasons, Violin Concerto No. 4 in F Minor, RV 297 Winter II. Largo
27. Carmen Piazzini - Piano Sonata No. 12 in F Major, K. 332 II. Adagio
28. Sylvia Capova - Préludes, Op. 28 No. 7 in A Major. Andantino
29. Libor Pešek - Holberg Suite, Op. 40 II. Sarabande. Andante
30. Dubravka Tomsic - Liebesträume, S. 541 No. 3, Oh Lieb, so lang du lieben kannst
31. Marko Munih - Valse Triste, Op. 44
32. Frank Shipway - Thaïs, Act II Meditation. Andante religioso
33. Anton Nanut - Xerxes, HWV 40, Act I Ombra mai fu
34. Ilmar Lapinsch - Messe à trois voix in A Major, Op. 12 V. Panis Angelicus. Poco lento
35. David Parry - Peer Gynt Suite No. 1, Op. 46 I. Morning Mood
36. David Parry - Canon and Gigue in D Major, P. 37 I. Canon
37. David Parry - Les contes d'Hoffmann, Act III Belle nuit, ô nuit d'amour Barcarolle (Arr. Perry)
38. Craig Ogden - Cavatina
39. Karin Lechner - Waltzes, Op. 39 No. 9 in D Minor
40. Peter Schmalfuss - Préludes, Book I, L. 117 No. 8, La fille aux cheveux de lin
41. Mikhail Gantvarg - Piano Concerto No. 21 in C Major, K. 467 II. Andante
42. Dubravka Tomsic - Peer Gynt Suite No. 2, Op. 55 IV. Solveigs Song (Arr. for Solo Piano)
43. Henrik Måwe - Gnossiennes No. 1, Lent
44. Axel Gillison - Lyric Pieces, Op. 54 IV. Notturno
45. Café Concerto - Thaïs, Act II Meditation
46. Severin Blazer - Suite for Solo Marimba I. Mist
47. Bohdan Warchal - 5 Lieder, Op. 49 No. 4, Wiegenlied
48. Alun Francis - Violin Concerto in G Minor, BWV 1056R II. Arioso. Largo
49. Tomislav Bavnov - The Seasons, Op. 37a No. 6, June, Barcarolle. Andante cantabile
50. Johannes Bornlof - Reminiscent

..::INFO::..

Drugi album australijskiego zespołu grającego ska.

Title: Checkout

Artist: The Seen

Country: Australia

Year: 2000

Genre: Ska, Reggae

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1 Suits are Cool
2 Tex's Big Bendy Banana
3 Liquifid Vegies
4 Hey Mr. DJ
5 Stuck @ the Checkout
6 The Incredible Recycled Underpants
7 In the Dough
8 Breadhead
9 Sell it Myself
10 Shadows after Darkness
11 She Comes In
12 Baby Elephant Skank

..::INFO::..

Trzeci album studyjny amerykańskiego zespołu grincoreowego.

Title: Condemned to the System

Artist: Nausea

Country: USA

Year: 2014

Genre: GrindCore

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

Freedom Of Religion
Does God Need Help?
World Left In Confinement
Cries Of Pain
Hate & Deception
Corporation Pull-In
Fuck The World
Falsely Accused
Condemn Big Business
And We Suffer (Nothing To Believe In)
Absence Of War

..::INFO::..

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

Title: The Morning After The Night Before

Artist: Chaos UK

Country: Wielka Brytania

Year: 1997

Genre: Punk

Format / Codec: MP3

Audio bitrate: 320 Kbps

...( TrackList )...

1.Fuck The Neighbours
2.No Mess Panic
3.Morning After
4.Take Me Back To San Clemente
5.Dis-Gruntled
6.Finger Up Bum
7.Another Punk Rock Day
8.Little Bastard
9.Wishful Thinking
10.Advert
11.Masturbator
12.Collateral Damage
13.Vegetable Soup
14.Farmyard Boogie

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

I noticed the expression 'Christian prog (rock)' just recently but this style wasn't new for me because during my teenage years, back in the 70s, I attended a cluster of gigs in churches and temples and those amateur bands that displayed then worked mainly in the prog-related lines, maybe due to the use of keyboards, flute, acoustic guitars and soft vocals those bands were driven into a more proggish approach. Some songs have a kind of heavenly tenderness and were the favorites to be covered, like ELP's 'Jerusalem' (I mean, their version), PFM's 'Appena un pò', O Terço's 'Tributo ao sorriso' (very uplifting lyrics, indeed), amidst some others. While some friends (both genders) preferred something more danceable, I must confess that having a prog-heart these covers delighted me and I didn't care too much about the intended holy message or the intrinsic proselytism - I liked the music and that was enough.
However, I find the expression 'Christian prog', a bit disturbing; are those doing music with this label the only ones who embrace the said religion? Are they the only ones that have faith? Are all other acts, not labeled so, doomed to the fires of inferno? To avoid confusion maybe a new tag should be thought for labeling those songs and musicians attached to the religious dominion. Well, at least for the progressive realm, they continue to trail those genres we all are used to identify: symphonic, neo, metal, and so on.

That said, it's time to review Neal Morse's DVD titled "Sola Scriptura & Beyond" which is primarily a symphonic-prog production based mainly upon his 2007 "Sola Scriptura" album but containing additional stuff from other albums and also from his Transatlantic & Spock's Beard time that are able to amuse musically the average hearer, being the latter, spiritually gifted or not. While lyrically Neal Morse runs in a particular lane marked by his personal experiences with the divine, musically he keeps a way close to that of Spock's Beard soft side, adding bits of gospel and pop-rock and significant doses of poignancy. Checking how this blend work in a live show is an interesting deal.

Neal appeared very enthusiastic, excited, emotive, energetic. and this posture soon wrapped up his entire staff, mainly the technical people and the supporting band. Considering that the core of this DVD was recorded in The Netherlands, it's not a surprise that the majority of Neal Morse's crew members are Dutch and consequently the audience too. The accompanying musicians are pretty young but showed a high level of professionalism and while a bit shy initially they soon joined Morse's liveliness.

The initial part of Disc 1 containing the "Sola Scriptura" tracks shows Morse & band very concerned for a few participative audience, which is explainable since the songs weren't too much known then - even so the result is beyond fair due to the musicians' skills. The 'Question Mark Medley' and 'Testimedley' sections open the gates for a more warm response from the audience that makes the overall atmosphere to grow intensely. The two final songs 'We all need some light' and 'Wind at my back' from Morse's Transatlantic and Spock's Beard years close the disc grabbing entirely the viewers (there or at home). A classical ender for this fine production.

The bonus material dubbed as Disc 2 brings some amusing and enjoyable musical parts especially those rooted on the "Question Mark" album and where we may catch all progressive influences over Neal Morse. Non-musical and behind the scene parts in this disc are pretty funny and sometimes interesting but add few to the general content.

Not being an expert on cinematography, I may tell that camera positioning (both discs) and movie cuts are impressive and well-crafted putting the hearer/viewer inside the action most of the times. I also heard this DVD as plain CD and while the recording is of the finest extraction it's clear that with a few exceptions the musical stuff is pretty average but the inclusion of images and movement donated a plus that makes this DVD an excellent addition to any progressive collection.

Atkingani



.... Henk Doest, Wilco van Esschoten, Jessica Koomen ... typical Dutch names to be found on the back cover of the new Neal Morse DVD because on his European tour Neal Morse has invited a lot of Dutch musicians. Talking about Dutch musicians, I have a small story for you. A few years ago I worked for the Dutch progrock magazine iO Pages, on our annual 'reviewers meeting' the chief-editor had arranged that one of the reviewer was going to give a 'drum clinic'. Well, he did and we were all very impressed, afterwards I had a talk with him and it turned out that we shared a huge appreciation for Neil Peart. Looking at the back cover I noticed the aforementioned typical Dutch names and ... the name of Collin Leijenaar, the iO Pages reviewer/drummer who gave that clinic: the one moment he wrote about Spock's Beard, the other moment he's the drummer of Neal Morse his band! And Collin is not only the drummer, he's also the driving force behind the Neal Morse band, wat an outstanding blend of skills and power, especially during the heavy symphonic rock and progmetal parts, very exciting.

On DVD-1 we can enjoy Neal his catchy enthousiasm, his funny stage antics and his great, very varied musical skills on several instruments: in the long and excellent composition The Creation (featuring wonderful choir-Mellotron) he easily switches from fat synthesizers runs on his keyboard to heavy guitar work on his electric guitar, showing a big smile, I love that 'playful musical megalomania '. I was also pleased with Neal his short vocal performance of the Seventies Top 10 hit Seasons In The Sun by Terry Jacks (it was my favorite ballad too) during the Spock's Beard tribute entitled The Good Don't Last/Open Wide The Flood Gates. The track The Door delivers heavy interplay with lots of scale-acrobatics, genuine progmetal with lush Hammond organ, not bad at all to use an understatement. Guitarplayer Paul Bielatowicz showcases his huge talents in this and the next song The Conflict/The Conclusion with hints from Steve Vai but he also plays warm blues with a bottleneck or more spacey with an E-bow, what a killer guitarplayer! In the long tracks Question Mark Medley and Testimedley again the band delivers excellent interplay and very exciting solos on guitar and keyboard (like a flashy solo on the synthesizer by Neal himself). The concert is concluded with the two ballad-like songs We All Need Some Light (in which Neal is grateful to the fans because "you show more understanding why I play for 3 hours than my wife ..") and the pleasant final one Wind At My Back.

DVD-2 contains a lot of 'bonus footage' like 'behind the scenes', an acoustic version of Bridge Across Forever and 9 bonustracks of the Question Mark tour, really interesting to watch.

In my opinion Neal Morse has succeeded to reach a wide audience with his tasteful and dynamic blend of ballads, symphonic rock and prog metal and how nice to notice so many Dutch musicans on stage. Highly recommended!

erik neuteboom



..::TRACK-LIST::..

DVD 1 - Sola Scriptura & Beyond:
1. The Creation
2. The Good Don't Last / Open Wide The Flood Gates
3. The Door
4. The Conflict / The Conclusion
5. Question Mark Medley
- The Temple Of The Living God
- Another World
- The Outsider
- 12
- Entrance
- Inside His Presence
- The Temple Of The Living God
6. Testimedley
- Overture No.1
- California Nights
- Colder In The Sun
- Somber Days
- Sing It High
- The Storm Before The Calm
- I Am Willing
- Oh, To Feel Him
- Rejoice
- God's Theme
7. We All Need Some Light
8. Wind At My Back


DVD 2 - Bonus Material:
1. Behind The Scenes Look Of The Sola Scriptura Tour
2. Bridge Across Forever Acoustic Version

Plus Nine Live Bonus Tracks From The Question Mark Tour
3. Sweet Eliation
4. In The Fire
5. Solid As The Sun
6. The Glory Of The Lord
7. Outside Looking In
8. Help Me
9. King Jesus
10. Reunion
11. We All Need Some Lights / Open Wide The Flood Gates / Solitary Soul / Wind At My Back



..::OBSADA::..

Bass Guitar, Vocals - Wilco van Esschoten
Drums - Collin Leijenaar
Guitar, Vocals - Elisa Krijgsman (tracks: DVD2-3 to 11), Paul Bielatowicz
Keyboards - Henk Doest
Vocals, Keyboards, Guitar - Neal Morse
Vocals, Keyboards, Percussion - Jessica Koomen



https://www.youtube.com/watch?v=bvOp5amPby4


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Originally released by Metal Blade Records on June 4th, 2002, God Was Created breathed new life into U.S. Death Metal scene that had become boring & stagnant and would lay the foundation for a new generation of bands to come. No band had been able to successfully bridge the gap between the more melodic European style and the more brutal U.S. sound until this release.


“Gather round, I have a story for ye. Back in 2002, a Phoenix-based death metal group called Vehemence released an album called God Was Created, a work that escaped widespread popularity to essentially become the little engine that could – a cult classic of the genre, if you will. Far from conventional, Created had an odd sound that was melodic without a hint of Gothenburg, preferring instead riffs that combined the open-strummed hardiness of Arghoslent with the evocative melodies of Intestine Baalism. More importantly, it showed a band tossing aside genre conventions to let blossom their bizarre vision and ambition. A concept album about a young man’s fatal obsession with a devoutly religious schoolgirl, Created combined acoustic strumming, sullen spoken word, and guitarwork that alternated between demented and achingly gorgeous, all into an hour-long journey of sexual Jesus fantasies and necrophilia.’

– Angry Metal Guy

“This record is a must for fans of extreme metal. Even those who are not into the brutal death style will still be able to find something they like in “God Was Created”. It is one of those death metal releases that sidesteps sub genres and just offers good music. This record can appeal to any Dark Tranquillity fan as much as it can to any fan of Nile or Cannibal Corpse. I truly believe this to be without a doubt the best extreme metal release this year!”

- Metal Bite


Vehemence's 'God Was Created' is untouchable. It is without a doubt the greatest album that the style of melodic death metal ever turned out. It is musically flawless. This belongs alongside 'Altars Of Madness' and 'None So Vile' in the pantheon of death metal classics, despite its position of relatively little popularity, at least compared to those LPs. This lack of greater recognition makes absolutely no sense: Vehemence was greater than nearly all other metal, especially on this album, and I've never fully understood how the quality was never quite recognized. Vehemence was very critically acclaimed, and some people, like me, have professed their love for the album, and yet they seem not to have ever attained their rightful place in the greater death metal community's perception of what the genre's greatest albums are. And with music like this, there's quite literally no reason for it to be this way.

I can hardly find words to describe how beautiful and wondrously crafted this album is. Every element of this album is just so perfectly in place. It reminds me in a way of Cradle Of Filth's 'Dusk... And Her Embrace', where you can't help but be awed by how carefully and flawlessly constructed it all is. I genuinely believe that even people who hate death metal with a fiery passion could love this album easily, so amazingly is it made. It transcends the boundaries of the genre: not through music, per se, but through quality that is able to appeal to people regardless of their typical musical tastes. It combines all the best elements of death metal into a single album that destroys most everything else in music. And to imagine that THIS album is one of the pinnacles of death metal, one of the most overflowingly melodic and emotional albums I've heard in any music at all, is even more amazing. It breaks a thousand rules and somehow comes out as a perfect example of what all melodic death metal should be. It is perfect in every way.

Vehemence truly understood what melodic death metal was supposed to be. It's not supposed to be stripped of its heaviness or brutality: the melody is supposed to ADD to the music, not subtract, and that's precisely how Vehemence used it. This has precisely zero in common with Gothenburg melodeath, latter-era Death, or Cynic, because while 'God Was Created' is unbelievably melodic at times, it is still first and foremost a death metal album, and Vehemence never forgets that. It's always raw, if not instrumentally, emotionally, and it always maintains power no matter how mellow the music itself is. It's not a remarkable album because it did something new. It's a remarkable album because it did everything it SHOULD have done, and did it perfectly. There's never a moment on this album where the band puts something unnecessary in out of some feeling of obligation or on a whim. They knew what elements would result in a great album, and they went and composed it. It's a work of pure, undiluted art, and the fact that it's so under appreciated is a crime.

Here's the secret about this album, though: it's really just pop rock translated into death metal. If you strip away the distortion, the metal drumming, the unclean vocals spewing blasphemous lyrics -all the things that make this a death metal album- you have what is essentially pop rock. This is still obviously a melodic death metal album; that much is undeniable, as is that Vehemence is a death metal band. But the melodies and structures of the music are actually all pop-based, and not very death metal at all beyond the obvious aesthetics. 'True' death metal, even in its most fragile and melodic moments, never gets quite this easy on the ears, and this is a major thing that sets 'God Was Created' apart from other melodic death metal albums: it's ridiculously easy to listen to due to these poppy aesthetics. I'd wager that a good part of your enjoyment of this album is based on your ability to push aside preconceived notions of how death metal 'should' sound, and, though I am very loathe to use the word, all elitism towards the 'purity' of death metal as an art form. The music here doesn't invalidate Morbid Angel or Cryptopsy; it just goes in a different direction, and there's no reason to feel threatened by it.

Take the very first song on this album, 'Made For Her Jesus'. The opening acoustic melody could easily appear in mainstream music, though it is darker and more minor key than most. Then, when the music ignites in full, with bombastic drum accents and a quick flurry of bass and snare leading into the main rolling rhythm of the song, the sinuous lead guitar is clearly neoclassical in nature, and laced with melodies that are instantaneously classic just because they're so ubiquitous. All the melodies on this album feel familiar, but you'll probably never place them because they don't actually appear elsewhere. It's just how natural everything sounds: all the melodies are ones that SHOULD have been written long ago, even if by some twist of fate they weren't. But back to this song: it's brilliant. An instant classic of death metal, changing tempo, mood, and texture constantly, ever shifting in new, exciting, and beautiful directions without ever losing sight of the structure of the song itself. Every note is flawlessly and carefully composed. Melodic death metal literally does not get better than this song.

Or perhaps it just might. Vehemence's most legendary track, 'She Never Noticed Me', is up next, and it's quite possibly the pinnacle of Vehemence's catalog. Sublime is the only word for this song: the upward spirals of heart wrenching guitar, the stunningly dynamic drumwork, the impassioned vocal performance, the subtle orchestral backing, it's all absolute genius. How has this song not been written before? Everything's so perfectly in place and naturally constructed that it seems to have sprouted from the very air itself. It's the sort of song that master pop songwriters struggle to perfect over the course of years, and there's NINE MORE SONGS OF EQUAL QUALITY on this album! How are these guys not heralded as songwriting geniuses? How have they not been DISCOVERED more!? It's the sort of album that I can only describe through massive streams of uninterruptible, overly enthusiastic cursing. But even that fails, because you can't really describe this album. You can attempt to get your arms around the enormity of the genius at work here, but you'll never really get it. You simply have to hear it.

Like all melodic death metal albums, 'God Was Created' is all about the guitars, and they're the best guitars melodic death metal has ever had. Go beyond the fact that they're beyond awesomely played, that many of the riffs are extremely technical (without ever losing songwriting, melody, direction, or atmosphere), and that they're supremely stylized and dramatically played. The fact of the matter is that this album has essentially the best riffs composed in music. I can think of MAYBE eight other albums with riffs this brilliant, and even those are questionable as hell. Generally, most bands have a few truly great and brilliant riffs per album, and a bunch of mediocre to good ones. The riffs on 'God Was Created' are ONLY in that first category: it's like Vehemence cannibalized all the best riffs from the greatest unknown melodic death metal bands in the world and put them together to create some sort of superalbum that can't be overcome by anyone. And above the ordinary brilliant riffs, the top ten percent of THOSE can't even be comprehended by mortal ears. The worst Vehemence riffs are the best riffs of other bands.

There's at least one section in every song on this album that's completely mindblowing, and Vehemence are generally smart enough to put in near the beginning or the end and completely destroy your soul. On 'Made For Her Jesus', it's the opening distorted riff. On 'Made For Her Jesus', it's the fast sort-of chorus. On 'Fantasy From Pain', it's once again the opening section. On 'The Last Fantasy Of Christ', it's the acoustic portion. You see a pattern getting established here? THEY'RE ALL AMAZING! Add to this the fact that the first block of four songs is even better than the rest of it and you can't even process how good this album is in the best moments. The rest of the music adds greatly to it, but if this album was nothing but guitar it would still be completely fucking brilliant on every level. The drums are spectacular as well: very dynamic, with a great sense of control over volume and timbre. It's deliberately overplayed yet unobtrusive, with lots of small flourishes added to make it that much more interesting. The vocals are excellent as well, employing rich growls and throaty screams that are massively memorable and very well employed. In all honesty, though, it's hard to compliment anything when the guitars are present: they just override everything else in excellence. You know all those little lead riffs that occur in many of today's melodic death/metalcore bands? Well, remove the influence, and you have an album packed with those. It's awesome on every level. There are tremolo riffs, chug riffs, atmospheric riffs, technical riffs, every kind of riff and each individual one is a masterpiece.

There is one last element that makes this album absolute genius, though: the lyrics. Much has been made of the fact that 'God Was Created' is, at least in part, a concept album. This concept is primarily illustrated through the brutally beautiful lyrics that are employed. They are of an extremely unique style: the subject matter is often very violent or pornographic, but often illustrated in very clinical, technical terms. Juxtaposed with the impassioned delivery of the vocals and the melodramatic melodies of the music itself, and a very unique style emerges. I don't know how many bands could pull off screaming 'My hand moves to my scrotum' over a depressive tremolo riff and make it not sound ridiculous, but Vehemence makes one. It's amazing just how memorable some of the lyrics are: you'll find yourself singing along with 'She Never Noticed Me' rather quickly, and the cleverness and subtlety of the lyrics is essentially without par in metal today: 'Sometimes/I notice/A bruise/On her face/Or her swollen lip... But most oft/I gaze/At the cross/Which hangs/Between her breasts...' Somewhat prosaic when written, but utterly compelling when meshed with the music.

I could go on for dozens of pages about why this album is so great, dissecting every riff and lyric and drum beat of every song on 'God Was Created', but the result would be essentially the same as not discussing the album at all. The brilliance of this release is unquantifiably masterful on every level, and should absolutely be viewed for what it is: a classic in music, and the very acme of melodic death metal as a whole. This late group of virtuosos deserves much more attention than it ever received at the hands of the public, so do your best to change this. Get a copy of 'God Was Created' and love it like I do, because I'll be damned if I can find anything better than this. Melodic death metal is dead, and 'God Was Created' is the dagger in its heart. Inexorable.

Noktorn



..::TRACK-LIST::..

1. Made For Her Jesus 5:58
2. She Never Noticed Me 7:00
3. Fantasy From Pain 6:05
4. Christ, I Fucking Hate You! 5:02
5. Lusting For Affection 3:39
6. The Last Fantasy Of Christ 5:23
7. I Didn't Kill Her 8:55
8. God Was Created 5:55
9. I Must Not Live 6:12
10. The Lord's Work 5:34



..::OBSADA::..

Mark Kozuback - Bass, Vocals (screams)
Andy Schroeder - Drums
Bjorn Dannov - Guitars (rhythm, acoustic), Guitars (lead) (tracks 4, 6, 7, 9), Songwriting (tracks 1-9)
Nathan Gearhart - Vocals, Lyrics
Jason Keesecker - Keyboards, Piano, Songwriting (track 2)
John Chavez - Guitars (rhythm), Samples, Guitars (lead) (tracks 3, 6, 7, 9), Songwriting (tracks 2-7, 9-10)




https://www.youtube.com/watch?v=1vr_RAPiIm8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Originally released by Metal Blade Records on June 4th, 2002, God Was Created breathed new life into U.S. Death Metal scene that had become boring & stagnant and would lay the foundation for a new generation of bands to come. No band had been able to successfully bridge the gap between the more melodic European style and the more brutal U.S. sound until this release.


“Gather round, I have a story for ye. Back in 2002, a Phoenix-based death metal group called Vehemence released an album called God Was Created, a work that escaped widespread popularity to essentially become the little engine that could – a cult classic of the genre, if you will. Far from conventional, Created had an odd sound that was melodic without a hint of Gothenburg, preferring instead riffs that combined the open-strummed hardiness of Arghoslent with the evocative melodies of Intestine Baalism. More importantly, it showed a band tossing aside genre conventions to let blossom their bizarre vision and ambition. A concept album about a young man’s fatal obsession with a devoutly religious schoolgirl, Created combined acoustic strumming, sullen spoken word, and guitarwork that alternated between demented and achingly gorgeous, all into an hour-long journey of sexual Jesus fantasies and necrophilia.’

– Angry Metal Guy

“This record is a must for fans of extreme metal. Even those who are not into the brutal death style will still be able to find something they like in “God Was Created”. It is one of those death metal releases that sidesteps sub genres and just offers good music. This record can appeal to any Dark Tranquillity fan as much as it can to any fan of Nile or Cannibal Corpse. I truly believe this to be without a doubt the best extreme metal release this year!”

- Metal Bite


Vehemence's 'God Was Created' is untouchable. It is without a doubt the greatest album that the style of melodic death metal ever turned out. It is musically flawless. This belongs alongside 'Altars Of Madness' and 'None So Vile' in the pantheon of death metal classics, despite its position of relatively little popularity, at least compared to those LPs. This lack of greater recognition makes absolutely no sense: Vehemence was greater than nearly all other metal, especially on this album, and I've never fully understood how the quality was never quite recognized. Vehemence was very critically acclaimed, and some people, like me, have professed their love for the album, and yet they seem not to have ever attained their rightful place in the greater death metal community's perception of what the genre's greatest albums are. And with music like this, there's quite literally no reason for it to be this way.

I can hardly find words to describe how beautiful and wondrously crafted this album is. Every element of this album is just so perfectly in place. It reminds me in a way of Cradle Of Filth's 'Dusk... And Her Embrace', where you can't help but be awed by how carefully and flawlessly constructed it all is. I genuinely believe that even people who hate death metal with a fiery passion could love this album easily, so amazingly is it made. It transcends the boundaries of the genre: not through music, per se, but through quality that is able to appeal to people regardless of their typical musical tastes. It combines all the best elements of death metal into a single album that destroys most everything else in music. And to imagine that THIS album is one of the pinnacles of death metal, one of the most overflowingly melodic and emotional albums I've heard in any music at all, is even more amazing. It breaks a thousand rules and somehow comes out as a perfect example of what all melodic death metal should be. It is perfect in every way.

Vehemence truly understood what melodic death metal was supposed to be. It's not supposed to be stripped of its heaviness or brutality: the melody is supposed to ADD to the music, not subtract, and that's precisely how Vehemence used it. This has precisely zero in common with Gothenburg melodeath, latter-era Death, or Cynic, because while 'God Was Created' is unbelievably melodic at times, it is still first and foremost a death metal album, and Vehemence never forgets that. It's always raw, if not instrumentally, emotionally, and it always maintains power no matter how mellow the music itself is. It's not a remarkable album because it did something new. It's a remarkable album because it did everything it SHOULD have done, and did it perfectly. There's never a moment on this album where the band puts something unnecessary in out of some feeling of obligation or on a whim. They knew what elements would result in a great album, and they went and composed it. It's a work of pure, undiluted art, and the fact that it's so under appreciated is a crime.

Here's the secret about this album, though: it's really just pop rock translated into death metal. If you strip away the distortion, the metal drumming, the unclean vocals spewing blasphemous lyrics -all the things that make this a death metal album- you have what is essentially pop rock. This is still obviously a melodic death metal album; that much is undeniable, as is that Vehemence is a death metal band. But the melodies and structures of the music are actually all pop-based, and not very death metal at all beyond the obvious aesthetics. 'True' death metal, even in its most fragile and melodic moments, never gets quite this easy on the ears, and this is a major thing that sets 'God Was Created' apart from other melodic death metal albums: it's ridiculously easy to listen to due to these poppy aesthetics. I'd wager that a good part of your enjoyment of this album is based on your ability to push aside preconceived notions of how death metal 'should' sound, and, though I am very loathe to use the word, all elitism towards the 'purity' of death metal as an art form. The music here doesn't invalidate Morbid Angel or Cryptopsy; it just goes in a different direction, and there's no reason to feel threatened by it.

Take the very first song on this album, 'Made For Her Jesus'. The opening acoustic melody could easily appear in mainstream music, though it is darker and more minor key than most. Then, when the music ignites in full, with bombastic drum accents and a quick flurry of bass and snare leading into the main rolling rhythm of the song, the sinuous lead guitar is clearly neoclassical in nature, and laced with melodies that are instantaneously classic just because they're so ubiquitous. All the melodies on this album feel familiar, but you'll probably never place them because they don't actually appear elsewhere. It's just how natural everything sounds: all the melodies are ones that SHOULD have been written long ago, even if by some twist of fate they weren't. But back to this song: it's brilliant. An instant classic of death metal, changing tempo, mood, and texture constantly, ever shifting in new, exciting, and beautiful directions without ever losing sight of the structure of the song itself. Every note is flawlessly and carefully composed. Melodic death metal literally does not get better than this song.

Or perhaps it just might. Vehemence's most legendary track, 'She Never Noticed Me', is up next, and it's quite possibly the pinnacle of Vehemence's catalog. Sublime is the only word for this song: the upward spirals of heart wrenching guitar, the stunningly dynamic drumwork, the impassioned vocal performance, the subtle orchestral backing, it's all absolute genius. How has this song not been written before? Everything's so perfectly in place and naturally constructed that it seems to have sprouted from the very air itself. It's the sort of song that master pop songwriters struggle to perfect over the course of years, and there's NINE MORE SONGS OF EQUAL QUALITY on this album! How are these guys not heralded as songwriting geniuses? How have they not been DISCOVERED more!? It's the sort of album that I can only describe through massive streams of uninterruptible, overly enthusiastic cursing. But even that fails, because you can't really describe this album. You can attempt to get your arms around the enormity of the genius at work here, but you'll never really get it. You simply have to hear it.

Like all melodic death metal albums, 'God Was Created' is all about the guitars, and they're the best guitars melodic death metal has ever had. Go beyond the fact that they're beyond awesomely played, that many of the riffs are extremely technical (without ever losing songwriting, melody, direction, or atmosphere), and that they're supremely stylized and dramatically played. The fact of the matter is that this album has essentially the best riffs composed in music. I can think of MAYBE eight other albums with riffs this brilliant, and even those are questionable as hell. Generally, most bands have a few truly great and brilliant riffs per album, and a bunch of mediocre to good ones. The riffs on 'God Was Created' are ONLY in that first category: it's like Vehemence cannibalized all the best riffs from the greatest unknown melodic death metal bands in the world and put them together to create some sort of superalbum that can't be overcome by anyone. And above the ordinary brilliant riffs, the top ten percent of THOSE can't even be comprehended by mortal ears. The worst Vehemence riffs are the best riffs of other bands.

There's at least one section in every song on this album that's completely mindblowing, and Vehemence are generally smart enough to put in near the beginning or the end and completely destroy your soul. On 'Made For Her Jesus', it's the opening distorted riff. On 'Made For Her Jesus', it's the fast sort-of chorus. On 'Fantasy From Pain', it's once again the opening section. On 'The Last Fantasy Of Christ', it's the acoustic portion. You see a pattern getting established here? THEY'RE ALL AMAZING! Add to this the fact that the first block of four songs is even better than the rest of it and you can't even process how good this album is in the best moments. The rest of the music adds greatly to it, but if this album was nothing but guitar it would still be completely fucking brilliant on every level. The drums are spectacular as well: very dynamic, with a great sense of control over volume and timbre. It's deliberately overplayed yet unobtrusive, with lots of small flourishes added to make it that much more interesting. The vocals are excellent as well, employing rich growls and throaty screams that are massively memorable and very well employed. In all honesty, though, it's hard to compliment anything when the guitars are present: they just override everything else in excellence. You know all those little lead riffs that occur in many of today's melodic death/metalcore bands? Well, remove the influence, and you have an album packed with those. It's awesome on every level. There are tremolo riffs, chug riffs, atmospheric riffs, technical riffs, every kind of riff and each individual one is a masterpiece.

There is one last element that makes this album absolute genius, though: the lyrics. Much has been made of the fact that 'God Was Created' is, at least in part, a concept album. This concept is primarily illustrated through the brutally beautiful lyrics that are employed. They are of an extremely unique style: the subject matter is often very violent or pornographic, but often illustrated in very clinical, technical terms. Juxtaposed with the impassioned delivery of the vocals and the melodramatic melodies of the music itself, and a very unique style emerges. I don't know how many bands could pull off screaming 'My hand moves to my scrotum' over a depressive tremolo riff and make it not sound ridiculous, but Vehemence makes one. It's amazing just how memorable some of the lyrics are: you'll find yourself singing along with 'She Never Noticed Me' rather quickly, and the cleverness and subtlety of the lyrics is essentially without par in metal today: 'Sometimes/I notice/A bruise/On her face/Or her swollen lip... But most oft/I gaze/At the cross/Which hangs/Between her breasts...' Somewhat prosaic when written, but utterly compelling when meshed with the music.

I could go on for dozens of pages about why this album is so great, dissecting every riff and lyric and drum beat of every song on 'God Was Created', but the result would be essentially the same as not discussing the album at all. The brilliance of this release is unquantifiably masterful on every level, and should absolutely be viewed for what it is: a classic in music, and the very acme of melodic death metal as a whole. This late group of virtuosos deserves much more attention than it ever received at the hands of the public, so do your best to change this. Get a copy of 'God Was Created' and love it like I do, because I'll be damned if I can find anything better than this. Melodic death metal is dead, and 'God Was Created' is the dagger in its heart. Inexorable.

Noktorn



..::TRACK-LIST::..

1. Made For Her Jesus 5:58
2. She Never Noticed Me 7:00
3. Fantasy From Pain 6:05
4. Christ, I Fucking Hate You! 5:02
5. Lusting For Affection 3:39
6. The Last Fantasy Of Christ 5:23
7. I Didn't Kill Her 8:55
8. God Was Created 5:55
9. I Must Not Live 6:12
10. The Lord's Work 5:34



..::OBSADA::..

Mark Kozuback - Bass, Vocals (screams)
Andy Schroeder - Drums
Bjorn Dannov - Guitars (rhythm, acoustic), Guitars (lead) (tracks 4, 6, 7, 9), Songwriting (tracks 1-9)
Nathan Gearhart - Vocals, Lyrics
Jason Keesecker - Keyboards, Piano, Songwriting (track 2)
John Chavez - Guitars (rhythm), Samples, Guitars (lead) (tracks 3, 6, 7, 9), Songwriting (tracks 2-7, 9-10)




https://www.youtube.com/watch?v=1vr_RAPiIm8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Torino' to tytuł drugiego albumu SONARA. Niby nie zmieniło się zbyt wiele, bo skład wciąż ten sam – śpiewa Lena Osińska, a za muzykę odpowiada przede wszystkim Łukasz Stachurko, na instrumentach perkusyjnych gra Rafał Dutkiewicz, a przy klawiszach zasiadł Artur Bogusławski. Jednak na „Torino” możemy poznać nowe oblicze zespołu – bardziej klubowe i taneczne.

Półtora roku po debiutanckich „Pętlach” SONAR wraca z 11 premierowymi utworami, wśród których usłyszeć można po raz pierwszy Lenę śpiewającą po angielsku. Na płycie pojawia się też dwóch gości zza wielkiej wody – obdarzony pięknym głosem Miles Bonny oraz raper z Chicago – Squair Blaq.
Trzecim gościem jest Holak, którego nie mogło zabraknąć na „Torino”. Za teksty tym razem odpowiada kilka osób – wspomniany Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) oraz Lena, która napisała teksty do anglojęzycznych utworów.

Za finalne, analogowe brzmienie albumu odpowiada Michał „Eprom” Baj, którego praca nad miksem i masteringiem doskonale dopełnia całość. Oprawa graficzna to dzieło Karoliny Zajączkowskiej, a sama okładka została namalowana na płótnie przez Zbioka Czajkowskiego.



Drugi album projektu Sonar to zdecydowany krok naprzód, większa różnorodność w warstwie produkcyjnej i wokalnej. Cieszą anglojęzyczne piosenki, w których Lena czuje się swobodnie.
Novika (Chilli Zet)

Piękna, zaskakująca i wciągająca. To zdecydowanie trzy najtrafniejsze słowa określające tą płytę. Piękny wokal Leny, brzmiący zupełnie inaczej niż w poprzednich kompozycjach. I chociaż mogłoby się zdawać, że przez ogromną miłość do Łukasza nie jestem obiektywna, płyta jest naprawdę znakomita!
Justyna Święs (The Dumplings)

Pierwszą płytę uwielbiałem za teksty i brzmienie, drugą – za charakter. Bo na „Torino” Sonar nie jest już tylko zmontowaną z różnych osobowości muzyczną ciekawostką, ale zespołem. No i na żywo z tym materiałem może naprawdę daleko odlecieć.
Tomek Doksa (Red Bull Music / Gazeta Magnetofonowa)

Fajna okładka, świetna produkcja i takie również utwory. „Torino” rządzi i już. Muzyka pięknie niesie i w ucho wpada, a Lena niejedno serce złamać może. Ruszajmy wszyscy nad morze.
Harper (Czwórka)

Odwaga Łukasza i Leny polega na tym, że „Torino” różni się od – bardzo dobrze przecież przyjętych – „Pętli” zdecydowanie. To wciąż wielkomiejski soul, ale zmieszany w jeszcze gęstszym i bogatszym w gatunkowe inspiracje sosie. Smakowite!
Andrzej Cała (dziennikarz muzyczny)

Sonar Soul to jeden z najlepszych producentów w Polsce, czego potwierdzenie znajduje się na albumie. Brzmieniu nie można zarzucić braku eklektyzmu, a jednocześnie przenosi w sceny z filmów, w tak spójny sposób jak soundtrack kultowego serialu.
Mateusz Holak (Małe Miasta)

To co najbardziej lubię w muzyce, to fakt, że potrafi zabierać słuchacza do innego wymiaru. Taką płytą jest właśnie Torino. Rewelacyjnie wyprodukowany i zaśpiewany krążek, pełen ciekawych kompozycji nasyconych klimatem, który porwał mnie w muzyczną podróż. Praca z tym krążkiem była czystą przyjemnością.
Michał „Eprom” Baj (odpowiedzialny za miks i mastering albumu)



Półtora roku od głośnego debiutu otrzymujemy drugi album zespołu SONAR.

Skład się nie zmienił, tak więc mózgiem operacji w dalszym ciągu jest Łukasz Stachurko (współtwórca RYS), śpiewa Lena Osińska, perkusistą jest Rafał Dutkiewicz, a za klawiaturami zasiada Artur Bogusławski. Zmieniło się zaś na pewno to, że pośród jedenastu utworów tylko cztery są w języku polskim. Stoją za nimi Holak, Ras oraz Wanda Berger (Maciej Polak), za resztę odpowiedzialna jest sama Lena, która nota bene wychodzi zwycięsko z mierzenia się z nową materią. Z jednej strony trochę szkoda tego skrętu w uniwersalizm, bo dobra liryka w ojczystym języku jest wciąż na wagę złota, z drugiej trudno się dziwić, że taki projekt nie chce się zamykać na lokalne podwórko, bo decydowanie ma potencjał by pograć po Europie.

Podobnie jak na „Pętlach” na „Torino” również muzycznych inspiracji jest sporo. Album otwiera „Listen Up”, czyli niespieszne, oddychające zadymionym padem zaproszenie do słuchania. Dalej wita nas spowite klasycznie dream popową aurą „Face the Sun” z gościnnym udziałem amerykańskiego wokalisty Milesa Bonny’ego, którego można pamiętać ze współpracy z Kixnarem. Następne z kolei „Lost & Found” rozpoczyna się kapitalną partią naprzemiennie dyskutującej sekcji rytmicznej, stając się tym samym najciekawszym aranżacyjnie momentem całego krążka. Generalnie większość materiału określają oryginalnie ułożone pętle połamanej perkusji („Hidden Garden”, „Obok”, „Nie Słuchaj”) oraz klubowo zorientowane bity z równo bitą stopą („Waitin'”, „Lżej”). Te tanecznie usposobione numery z pewnością nabiorą jeszcze dodatkowego wiatru w żagle podczas odsłon koncertowych, których warto już powoli wypatrywać na horyzoncie.

O ile pierwszy album SONARu zasilały lokalne talenty raperskie, to tym razem mamy tu tylko jednego rapującego gościa, ale za to z Chicago. Squair Blaqa, bo o nim mowa można pamiętać z featuringu u Mr.Krime’a, w „Simple” zaś nawija rasową zwrotkę na niesztampowo akcentowanym podkładzie. Wspólnym mianownikiem dla ponad trzydziestu siedmiu minut nowego longplay’a jest z pewnością wszechobecna zwiewność i eteryczność spowodowana leniwym głosem frontmanki, co uwypukla się szczególnie w zmysłowym „Odkrywam” z odważnym piszcząco-trącym elementem dźwiękowym oraz wyciszającym album „Lie Still”. Podsumowując jednym zdaniem „Torino” potwierdza, że SONAR ma przewodzącą pozycję na coraz szerszej połaci rodzimych projektów łączących damski wokal i popowe zacięcie z elektronicznym rdzeniem.

PS. Warto nadmienić, bo nie każdy dostrzeże, że intrygującą okładkę namalował na płótnie Zbiok Czajkowski.

Bartek Woynicz



..::TRACK-LIST::..

1. Listen Up
2. Face the Sun (feat. Miles Bonny)
3. Lost & Found
4. Hidden Garden
5. Obok (feat. Holak)
6. Odkrywam
7. Lżej
8. Waitin’
9. Nie Słuchaj
10. Simple (feat. Squair Blaq)
11. Lie Still



https://www.youtube.com/watch?v=Z02WGTNV3d4



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