...( Info )...

Artist: Bonnie Tyler
Album: Between the Earth and the Stars
Recording Format/Source: [TR24][OF]
Watermark: No
Year of Release: 2019
Genre: Pop Rock
Publisher (Label): earMUSIC
Duration: 00:48:36
Scans in the distribution content: Album Artwork Only
Container: FLAC (*.flac)
Rip Type: Tracks
Bit Depth: 24/48
Format: PCM
Number of Channels: 2.0


...( TrackList )...

01. Hold On (3:18)
02. Battle of the Sexes (3:47)
03. Slow Walk (3:13)
04. Seven Waves Away (3:45)
05. Someone's Rockin' Your Heart (3:01)
06. Older (3:42)
07. Taking Control (3:36)
08. Between the Earth and the Stars (3:55)
09. Don't Push Your Luck (3:07)
10. To the Moon and Back (3:41)
11. Bad for Loving You (2:57)
12. Let's Go Crazy Tonight (3:00)
13. Missing You (3:53)
14. Move (3:41)[

...( Info )...

Artist: Bonnie Tyler
Title: Greatest Hits

Year: 1989
Genre: Pop
Country: USA

Duration: 01:04:05
Format/Codec: mp3
Audio bitrate: 320 Kbps

...( TrackList )...

01 - Total Eclipse Of The Heart
02 - Holding Out For A Hero
03 - (The World Is Full Of) Married Men
04 - Rockin' Goodway (To Mess Around And Fall In Love)
05 - Here She Comes
06 - Band Of Gold
07 - Faster Than The Speed ​​Of Night
08 - Lovers Again
09 - Lost In France
10 - It's A Heartache
11 - Getting So Excited
12 - Have You Ever Seen The Rain
13 - I Believe In Your Sweet Love
14 - If I Sing You A Love Song
15 - More Than A Lover
16 - Straight From The Heart

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


..::OPIS::..

Masterful, technical death metal from Indianapolis. Breaking all death metal lyrical and musical trends, Harakiri deliver a cerebral assault of experimental and unexpected brutality.



..::TRACK-LIST::..

1. You Too Can Have Your Own Cranklab 02:58
2. Ripe For Destruction 03:03
3. Ad Infinitum 02:13
4. Hungry American 03:19
5. Blest Be The Retarded 02:30
6. On Being Succinct 02:45
7. Another Tool In The Shed 02:36
8. Numeric Brandings 03:05
9. Nine 01:26
10. Necessary Deviations 03:29



..::OBSADA::..

Kent Hiltz - Drums
Ben Sandman - Guitars
Nathan Stambro - Bass
Chris Morrison - Guitars
Matt Reese - Vocals




https://www.youtube.com/watch?v=5m5acgqEM3I



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

...( Info )...
Artist: Various
Album: 70s Rockdown (The Ultimate Rock Anthems)
Label: Xploded TV
Format: 3 x CD, Compilation
Released: 2020
Genre: Classic Rock, Pop Rock, Soft Rock, Blues Rock, Prog Rock
Audio codec: Mp3 320 kbps

...( TrackList )...
CD1
01 Queen - Killer Queen 2:59
02 KiSS - I Was Made for Lovin' You 4:00
03 Elton John - Pinball Wizard 5:14
04 Bob Seger & The Silver Bullet Band - Old Time Rock and Roll 3:12
05 Paul McCartney & Wings - Live and Let Die 3:11
06 Free - All Right Now 5:32
07 Argent - God Gave Rock & Roll to You 3:16
08 Blue Oyster Cult - (Don't Fear) The Reaper 3:48
09 Kansas - Carry on Wayward Son 3:26
10 Golden Earring - Radar Love 3:45
11 Tom Robinson Band - 2-4-6-8 Motorway 3:16
12 City Boy - 5.7.0.5. 3:13
13 Yes - Wonderous Stories 3:48
14 Emerson Lake & Palmer - Fanfare for The Common Man 2:56
15 Bachman-Turner Overdrive - You Ain't Seen Nothing Yet 3:36
16 Ram Jam - Black Betty 2:29
17 Jo Jo Gunne - Run Run Run 2:34
18 Gary Moore & Phil Lynott - Parisienne Walkways 3:20
19 Jethro Tull - Life is A Long Song 3:18
20 Lynyrd Skynyrd - Free Bird 9:07

CD2
01 Status Quo - Down Down 3:48
02 Who - Who Are You 5:06
03 Focus - Hocus Pocus 6:40
04 Deep Purple - Black Night 3:25
05 Thin Lizzy - The Boys Are Back in Town 3:10
06 Rainbow - Since You Been Gone 3:17
07 Hawkwind - Silver Machine 4:36
08 Bad Company - Can't Get Enough 4:14
09 ZZ Top - La Grange 3:47
10 Taste - What's Going On 2:47
11 Heart - Barracuda 4:22
12 Rory Gallagher - Bad Penny 4:00
13 Slade - Cum on Feel The Noize 4:24
14 Knack - My Sharona 4:53
15 McGuinness - When I'm Dead and Gone 3:40
16 Steve Miller Band - Fly Like an Eagle 3:01
17 America - Ventura Highway 3:30
18 Stealers Wheel - Stuck in The Middle With You 3:23
19 Climax Blues Band - Couldn't Get it Right 3:16
20 Canned Heat - Let's Work Together 3:13

CD3
01 Fleetwood Mac - Don't Stop 3:10
02 Alice Cooper - School's Out 3:29
03 Eric Clapton - Lay Down Sally 3:49
04 Mott The Hoople - All The Young Dudes 3:31
05 Faces - Stay With Me 4:38
06 Joe Walsh - Life's Been Good 4:39
07 Manfred Mann's Earth Band - Blinded By The Light 3:48
08 Foreigner - Cold as Ice 3:18
09 Santana - Black Magic Woman 3:14
10 Python Lee Jackson feat. Rod Stewart - In A Broken Dream 3:40
11 Uriah Heep - Easy Livin' 2:36
12 Dr. Feelgood - Roxette 2:55
13 Allman Brothers Band - Jessica 4:09
14 Moody Blues - Question 4:55
15 Mink Deville - Spanish Stroll 3:36
16 Roger Daltrey - Giving it All Away 3:29
17 Nazareth - Love Hurts 3:52
18 10CC - Rubber Bullets 4:40
19 Rick Wakeman - Catherine of Aragon 3:44
20 John Miles - Music 5:52

70s Rock Down takes a different path through the decade, steering away from the usual FM giants and instead focusing on the deep‑cut energy that shaped how the seventies actually sounded day to day. This 2020 three‑disc set released by Xploded TV / Xploded Music leans into the spaces between hard rock, melodic rock, bar‑band grit, and early AOR, those tracks that lived on late‑night radio, in record‑shop bins, and on well‑worn home stereos. It’s a portrait of the era built from the ground up rather than from the headlines.

The flow across the discs mirrors the decade’s natural progression. Early‑70s blues‑rock muscle gives way to mid‑decade melodic punch, before settling into the smoother, more polished textures that closed out the era. The guitars have bite, the rhythm sections lean forward, and the vocals carry those unmistakable seventies warmth, equal parts swagger and storytelling. These aren’t museum pieces; they’re songs built for real rooms, real nights, and real volume.

What gives the set its character is the balance between familiar names and strong tracks from artists who never quite broke through commercially. That mix keeps the listening experience grounded and surprising at the same time. The mastering preserves the analogue feel without dulling the edges, letting the music breathe in a way that suits the material.

Taken as a whole, 70s Rock Down offers a vivid snapshot of the decade’s working‑class rock heart. It highlights the bands and songs that filled the spaces between the blockbusters, music that carried the same spark, the same drive, and the same sense of possibility. It’s a reminder that the seventies were built not just by giants, but by countless groups chasing their own version of the sound. (B)

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


..::OPIS::..

Masterful, technical death metal from Indianapolis. Breaking all death metal lyrical and musical trends, Harakiri deliver a cerebral assault of experimental and unexpected brutality.



..::TRACK-LIST::..

1. You Too Can Have Your Own Cranklab 02:58
2. Ripe For Destruction 03:03
3. Ad Infinitum 02:13
4. Hungry American 03:19
5. Blest Be The Retarded 02:30
6. On Being Succinct 02:45
7. Another Tool In The Shed 02:36
8. Numeric Brandings 03:05
9. Nine 01:26
10. Necessary Deviations 03:29



..::OBSADA::..

Kent Hiltz - Drums
Ben Sandman - Guitars
Nathan Stambro - Bass
Chris Morrison - Guitars
Matt Reese - Vocals




https://www.youtube.com/watch?v=5m5acgqEM3I



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

..::INFO::..

---------------------------------------------------------------------
The Beatles - The Beatles Ballads
---------------------------------------------------------------------

Artist...............: The Beatles
Album................: The Beatles Ballads
Genre................: Rock
Source...............: CD
Year.................: 1980-2002
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 58 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Parlophone

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

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

1. The Beatles - Yesterday [02:04]
2. The Beatles - Norwegian Wood [02:05]
3. The Beatles - Do You Want To Know A Secret [01:57]
4. The Beatles - For No One [02:00]
5. The Beatles - Michelle [02:43]
6. The Beatles - Nowhere Man [02:44]
7. The Beatles - You've Got To Hide Your Love [02:08]
8. The Beatles - Across The Universe [03:48]
9. The Beatles - All My Loving [02:08]
10. The Beatles - Hey Jude [07:10]
11. The Beatles - Something [03:03]
12. The Beatles - The Fool On The Hill [02:59]
13. The Beatles - Till There Was You [02:14]
14. The Beatles - The Long And Winding Road [03:39]
15. The Beatles - Here Comes The Sun [03:08]
16. The Beatles - Blackbird [02:21]
17. The Beatles - And I Love Her [02:30]
18. The Beatles - She's Leaving Home [03:38]
19. The Beatles - Here There And Everywhere [02:26]
20. The Beatles - Let It Be [03:50]

Playing Time.........: 58:46
Total Size...........: 344,62 MB

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


..::OPIS::..

Jedyna, wydana w 1972 roku przez należącą do Polydor Records (i obecnie bardzo kolekcjonerską choć krótkotrwałą) wytwórnię Zebra płyta to doskonały, ultra-ciężki, niemiecki, progresywny rock w stylu Deep Purple, Uriah Heep i Black Sabbath a także Silberbart i Lucifer's Friend. Oparty na bardzo ciężkich riffach i momentami epatujący psychodeliczną atmosferą album przez wielu uważany jest za przykład najcięższego, momentami niemal ekstremalnego grania z początku lat 70. i zapewniam, że nikogo nie powinien rozczarować.

JL

Po raz pierwszy w tym cyklu przyjrzymy się wykonawcy nie pochodzącemu z Wielkiej Brytanii, lecz z Niemiec. Na początku lat 70. tamtejsza scena zdominowała była przez ambitne zespoły, przekładające artystyczne ambicje nad sukcesy komercyjne. Pomimo wielu różnic, prasa muzyczna wrzuciła je wszystkie do jednego nurtu, pogardliwie nazwanego krautrockiem. Nie brakowało jednak grup, których nie interesowało eksperymentowanie, lecz naśladowanie anglosaskich twórców z głównego nurtu. Niektórym z nich wychodziło to na tyle dobrze, że przy nieco większym szczęściu, mogłyby zdobyć pewną popularność. Jednym z takich przypadków jest Night Sun.

Zespół powstał w 1970 roku na gruzach właśnie rozwiązanej grupy Take Five (nazwanej tak od słynnego jazzowego standardu, napisanego przez Paula Desmonda dla Dave Brubeck Quartet), specjalizującej się w jazzujących przeróbkach rockowych i bluesowych hitów. Nazwa początkowo brzmiała Night Sun Mournin', jednak szybko ją skrócono. Skład kilkakrotnie się zmieniał, jednak cały czas byli w nim grający na instrumentach klawiszowych i dętych Knut Rossler oraz perkusista Ulrich Staudt. Ostateczny kształt grupy wykrystalizował się w 1971 roku, gdy do powyższej dwójki dołączyli śpiewający basista Bruno Schaab i gitarzysta Walter Kirchgassner. Kwartet zarejestrował, z pomocą słynnego producenta Conny'ego Planka, materiał na swój jedyny - jak się miało okazać - album, "Mournin'". Choć wydawcą był Polydor, longplay ukazał się wyłącznie w Niemczech i Kanadzie. Wydawca zapewne nie widział sensu w wydawaniu w innych krajach albumu zespołu, który nie mógł go promować ze względu na odejście gitarzysty (który postanowił przerzucić się na wiolonczelę i poświęcić muzyce klasycznej), a w konsekwencji zakończenie działalności. Większość muzyków właściwie całkiem wycofała się z muzycznego biznesu, choć Schaab przewinął się jeszcze przez skład krautrockowego Guru Guru.

Podobnie jak ich rodacy z Lucifer's Friend na swoim eponimicznym debiucie, muzycy Night Sun zaproponowali muzykę wyraźnie czerpiącą z dokonań Led Zeppelin, Black Sabbath i Deep Purple. Proporcje są nieco inne, ale to dokładnie ta sama stylistyka. Zeppelinowe skojarzenia wywołuje przede wszystkim warstwa wokalna, choć pod względem umiejętności Schaab znacznie ustępuje Robertowi Plantowi i jego śpiew jest najsłabszym ogniwem tego albumu. Warstwa instrumentalna najczęściej kieruje się w stronę Purpli - Kirchgassner niewątpliwie był pod wpływem Ritchiego Blackmore'a (choć w jego grze słychać więcej bluesa), a Rossler na szeroką skalę korzysta z elektrycznych organów (ich brzmienie kojarzy się jednak raczej z psychodelią lat 60. niż charakterystycznym brzmieniem Jona Lorda). Skojarzenia z tą grupą wywołuje przede wszystkim rozpędzony "Nightmare", którego nie sposób nie skojarzyć z utworami w rodzaju "Speed King" czy "Highway Star". Ale zdarzają się też cięższe momenty, o bardziej posępnym nastroju, które wypadają bardzo sabbathowo. Takie są przede wszystkim "Got a Bone of My Own", "Slush Pan Man" i "Living with the Dying" (ostatni z nich został urozmaicony sflangerowaną solówką na perkusji). Jednak nawet w tych momentach, gdy wpływy którejś z brytyjskich grup przeważają, pojawiają się też elementy typowe dla pozostałych. Różni się tylko ich wzajemny stosunek.

Zresztą inspiracje Night Sun wykraczają poza dokonania słynnej hardrockowej trójcy. Częściowo balladowy "Come Down" w swoich łagodniejszych momentach nie kojarzy się z żadnym z tych zespołów, które nigdy nie grały w tak oniryczny sposób. Nawet wokal nie przypomina już Planta, a raczej... Thoma Yorke'a. Utwór niepozbawiony jest jednak zaostrzeń, dzięki którym doskonale pasuje do reszty albumu. Drugim nagraniem świadczącym o szerszych horyzontach muzyków jest finałowy "Don't Start Flying", w którym Rossler zamienia klawisze na jazzujące dęciaki (według opisu na trąbkę i fagot, ale brzmi to raczej jak saksofon), które doskonale uzupełniają się z hardrockowymi riffami. Tutaj skojarzenia idą przede wszystkim w stronę King Crimson lub Nucleus. W sumie szkoda, że nie ma na tej płycie więcej grania o takim bardziej jazz-rockowym charakterze, bo instrumentaliści posiadali całkiem spore umiejętności. Słychać to nawet w tych stricte hardrockowych kawałkach, z nierzadko porywającymi partiami gitary i organów oraz z niebanalną grą sekcji rytmicznej. Pod względem muzycznym jest to chyba nawet trochę lepszy album od przywołanego wcześniej debiutu Lucifer's Friend, który jednak wypada dużo lepiej pod względem wokalnym. Oba wydawnictwa nalezą do ścisłej czołówki takiego grania i spokojnie można postawić je pomiędzy klasycznymi dokonaniami Black Sabbath, Led Zeppelin oraz Deep Purple.

Paweł Pałasz


While it's tempting to think that most of the German rock bands of the early 70s were cranking out the kosmische sounds of Krautrock in the vein of Amon Duul II or Can, there existed in fact a few bands that weren't seeking escapism but rather searching for speed and volume excesses. While some Kraut bands like Embryo favored jazz and others like Tangerine Dream dropped the rock altogether to craft the freakiest electronic sounds ever heard, others like Birth Control, Lucifer's Friend and NIGHT SUN were going for the early heavy metal gusto, more infatuated by Deep Purple, Led Zeppelin and Black Sabbath than anything coming from the homeland. NIGHT SUN was formed in Mannheim in 1970 and only existed for three years as well as releasing only a single album yet the band's lone offering MOURNIN' is considered one of the heaviest rock albums to have emerged just after the world of proto-metal had been born.
While the Scorpions would become Germany's biggest heavy metal band, in 1972 that band's debut "Lonesome Crow" had one foot in the world of Krautrock and the other in heavier rock but NIGHT SUN on the other hand delivered one scorcher of an album that has gone down in history as one of metal's most essential early contributors to inspiring the future sounds of thrash metal, power metal and even progressive metal for that matter. Like many bands of the day before the term metal had really become a true genre and the spirit of experimentation was en vogue, MOURNIN' was more than an early precursor to the world of metal but also delivered an intriguing mix of 60s heavy psych, excursions of psychedelia and most of all labyrinthine progressive rock elements that made this band one of the earliest heavy prog bands that true embraced the wild complexities that the early 70s prog albums cranked out.

Despite delivering a scorching heavy rock album, the band was lucky enough to find Conny Planck in the producer's seat who had famously worked with Faust, Kraftwerk, David Bowie and a gazillion other prominent acts of the era but despite that good fortune was utterly ignored suffering the same indignity that many a band experienced with lackluster record labels that had no clue how to market their products. Somewhat of a mix of Uriah Heep, Deep Purple, Led Zeppelin and Lucifer's Friend, NIGHT SUN sounded like no other although it embraced the same organ driven heaviness that many heavier bands were embracing during the day. The band knew no limits though and through the nine tracks that mostly cranked out heavy guitar riffs still found a way to incorporate the bassoon and saxophone into the mix. The album starts out with the blitzkrieg delivery of "Plastic Shotgun" which features some of the fastest riffing and accompanying bass and drum action that the 70s had to offer.

The album meanders in the world of psychedelia with the near 8-minute "Got A Bone Of My Own" which despite offering a heady excursion into trippiness didn't really fit in with the world of Krautrock as even during these more chilled moments the band was still based in bluesy rock that had moments of heavy guitar distortion, trippy echo effects and a heavy psych sound more in the vein of Jimi Hendrix than fellow countrymen Birth Control. One of the most prominent features of NIGHT SUN's proggy heavy rock was the idiosyncratic vocal style of Bruno Schaab who sounded like a more ambitious Robert Plant with his brash bravado and nasal tone structures. The composiitons were heavily laced with many hairpin rhythmic shifts with extra tight guitar and organ interplay. The riffs are particularly bombastic and tracks like "Nightmare" offer a frenzied adrenalized speedfest which prognosticates the worlds of thrash and power metal styles that would emerge in the next decade.

NIGHT SUN's sole contribution to the world of heavy 70s prog is a must for anyone seeking out the origins of metal and despite having a somewhat dated sound that perfectly exemplifies the zeitgeist of the era is a feast to the ears for those who love the early proto-metal sounds of blues rocks blasting in high decibels accompanied by rampaging tempos and touches of downtime with psychedelic time period freakiness. NIGHT SUN had its origins in the 60s band jazz band Take Five which never released any material but was popular on the Mannheim circuit. The last track on MOURNIN' titled "Don't Start Flying" offers a tribute to that band with clever saxophone and bassoon extras. While the band didn't really craft a new sound per se as it exemplified the standard bluesy rock with distortion and speed turned up a few notches, NIGHT SUN nevertheless offered an excellent adventurous album within that framework and is now considered one of those lost gems of the 70s.

siLLy puPPy



..::TRACK-LIST::..

1. Plastic Shotgun 2:34
2. Crazy Woman 4:22
3. Got A Bone Of My Own 7:45
4. Slush Pan Man 4:25
5. Living With The Dying 5:31
6. Come Down 5:48
7. Blind 4:24
8. Nightmare 3:16
9. Don't Start Flying 3:07



..::OBSADA::..

Bruno Schaab - Lead Vocals, Bass
Walter Kirchgassner - Guitar
Knut Rössler - Organ, Piano (1), Tenor Sax (9)
Ulrich Staudt - Drums, Percussion




https://www.youtube.com/watch?v=wFMbb4OT70Q



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

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


..::OPIS::..

Jedyna, wydana w 1972 roku przez należącą do Polydor Records (i obecnie bardzo kolekcjonerską choć krótkotrwałą) wytwórnię Zebra płyta to doskonały, ultra-ciężki, niemiecki, progresywny rock w stylu Deep Purple, Uriah Heep i Black Sabbath a także Silberbart i Lucifer's Friend. Oparty na bardzo ciężkich riffach i momentami epatujący psychodeliczną atmosferą album przez wielu uważany jest za przykład najcięższego, momentami niemal ekstremalnego grania z początku lat 70. i zapewniam, że nikogo nie powinien rozczarować.

JL

Po raz pierwszy w tym cyklu przyjrzymy się wykonawcy nie pochodzącemu z Wielkiej Brytanii, lecz z Niemiec. Na początku lat 70. tamtejsza scena zdominowała była przez ambitne zespoły, przekładające artystyczne ambicje nad sukcesy komercyjne. Pomimo wielu różnic, prasa muzyczna wrzuciła je wszystkie do jednego nurtu, pogardliwie nazwanego krautrockiem. Nie brakowało jednak grup, których nie interesowało eksperymentowanie, lecz naśladowanie anglosaskich twórców z głównego nurtu. Niektórym z nich wychodziło to na tyle dobrze, że przy nieco większym szczęściu, mogłyby zdobyć pewną popularność. Jednym z takich przypadków jest Night Sun.

Zespół powstał w 1970 roku na gruzach właśnie rozwiązanej grupy Take Five (nazwanej tak od słynnego jazzowego standardu, napisanego przez Paula Desmonda dla Dave Brubeck Quartet), specjalizującej się w jazzujących przeróbkach rockowych i bluesowych hitów. Nazwa początkowo brzmiała Night Sun Mournin', jednak szybko ją skrócono. Skład kilkakrotnie się zmieniał, jednak cały czas byli w nim grający na instrumentach klawiszowych i dętych Knut Rossler oraz perkusista Ulrich Staudt. Ostateczny kształt grupy wykrystalizował się w 1971 roku, gdy do powyższej dwójki dołączyli śpiewający basista Bruno Schaab i gitarzysta Walter Kirchgassner. Kwartet zarejestrował, z pomocą słynnego producenta Conny'ego Planka, materiał na swój jedyny - jak się miało okazać - album, "Mournin'". Choć wydawcą był Polydor, longplay ukazał się wyłącznie w Niemczech i Kanadzie. Wydawca zapewne nie widział sensu w wydawaniu w innych krajach albumu zespołu, który nie mógł go promować ze względu na odejście gitarzysty (który postanowił przerzucić się na wiolonczelę i poświęcić muzyce klasycznej), a w konsekwencji zakończenie działalności. Większość muzyków właściwie całkiem wycofała się z muzycznego biznesu, choć Schaab przewinął się jeszcze przez skład krautrockowego Guru Guru.

Podobnie jak ich rodacy z Lucifer's Friend na swoim eponimicznym debiucie, muzycy Night Sun zaproponowali muzykę wyraźnie czerpiącą z dokonań Led Zeppelin, Black Sabbath i Deep Purple. Proporcje są nieco inne, ale to dokładnie ta sama stylistyka. Zeppelinowe skojarzenia wywołuje przede wszystkim warstwa wokalna, choć pod względem umiejętności Schaab znacznie ustępuje Robertowi Plantowi i jego śpiew jest najsłabszym ogniwem tego albumu. Warstwa instrumentalna najczęściej kieruje się w stronę Purpli - Kirchgassner niewątpliwie był pod wpływem Ritchiego Blackmore'a (choć w jego grze słychać więcej bluesa), a Rossler na szeroką skalę korzysta z elektrycznych organów (ich brzmienie kojarzy się jednak raczej z psychodelią lat 60. niż charakterystycznym brzmieniem Jona Lorda). Skojarzenia z tą grupą wywołuje przede wszystkim rozpędzony "Nightmare", którego nie sposób nie skojarzyć z utworami w rodzaju "Speed King" czy "Highway Star". Ale zdarzają się też cięższe momenty, o bardziej posępnym nastroju, które wypadają bardzo sabbathowo. Takie są przede wszystkim "Got a Bone of My Own", "Slush Pan Man" i "Living with the Dying" (ostatni z nich został urozmaicony sflangerowaną solówką na perkusji). Jednak nawet w tych momentach, gdy wpływy którejś z brytyjskich grup przeważają, pojawiają się też elementy typowe dla pozostałych. Różni się tylko ich wzajemny stosunek.

Zresztą inspiracje Night Sun wykraczają poza dokonania słynnej hardrockowej trójcy. Częściowo balladowy "Come Down" w swoich łagodniejszych momentach nie kojarzy się z żadnym z tych zespołów, które nigdy nie grały w tak oniryczny sposób. Nawet wokal nie przypomina już Planta, a raczej... Thoma Yorke'a. Utwór niepozbawiony jest jednak zaostrzeń, dzięki którym doskonale pasuje do reszty albumu. Drugim nagraniem świadczącym o szerszych horyzontach muzyków jest finałowy "Don't Start Flying", w którym Rossler zamienia klawisze na jazzujące dęciaki (według opisu na trąbkę i fagot, ale brzmi to raczej jak saksofon), które doskonale uzupełniają się z hardrockowymi riffami. Tutaj skojarzenia idą przede wszystkim w stronę King Crimson lub Nucleus. W sumie szkoda, że nie ma na tej płycie więcej grania o takim bardziej jazz-rockowym charakterze, bo instrumentaliści posiadali całkiem spore umiejętności. Słychać to nawet w tych stricte hardrockowych kawałkach, z nierzadko porywającymi partiami gitary i organów oraz z niebanalną grą sekcji rytmicznej. Pod względem muzycznym jest to chyba nawet trochę lepszy album od przywołanego wcześniej debiutu Lucifer's Friend, który jednak wypada dużo lepiej pod względem wokalnym. Oba wydawnictwa nalezą do ścisłej czołówki takiego grania i spokojnie można postawić je pomiędzy klasycznymi dokonaniami Black Sabbath, Led Zeppelin oraz Deep Purple.

Paweł Pałasz


While it's tempting to think that most of the German rock bands of the early 70s were cranking out the kosmische sounds of Krautrock in the vein of Amon Duul II or Can, there existed in fact a few bands that weren't seeking escapism but rather searching for speed and volume excesses. While some Kraut bands like Embryo favored jazz and others like Tangerine Dream dropped the rock altogether to craft the freakiest electronic sounds ever heard, others like Birth Control, Lucifer's Friend and NIGHT SUN were going for the early heavy metal gusto, more infatuated by Deep Purple, Led Zeppelin and Black Sabbath than anything coming from the homeland. NIGHT SUN was formed in Mannheim in 1970 and only existed for three years as well as releasing only a single album yet the band's lone offering MOURNIN' is considered one of the heaviest rock albums to have emerged just after the world of proto-metal had been born.
While the Scorpions would become Germany's biggest heavy metal band, in 1972 that band's debut "Lonesome Crow" had one foot in the world of Krautrock and the other in heavier rock but NIGHT SUN on the other hand delivered one scorcher of an album that has gone down in history as one of metal's most essential early contributors to inspiring the future sounds of thrash metal, power metal and even progressive metal for that matter. Like many bands of the day before the term metal had really become a true genre and the spirit of experimentation was en vogue, MOURNIN' was more than an early precursor to the world of metal but also delivered an intriguing mix of 60s heavy psych, excursions of psychedelia and most of all labyrinthine progressive rock elements that made this band one of the earliest heavy prog bands that true embraced the wild complexities that the early 70s prog albums cranked out.

Despite delivering a scorching heavy rock album, the band was lucky enough to find Conny Planck in the producer's seat who had famously worked with Faust, Kraftwerk, David Bowie and a gazillion other prominent acts of the era but despite that good fortune was utterly ignored suffering the same indignity that many a band experienced with lackluster record labels that had no clue how to market their products. Somewhat of a mix of Uriah Heep, Deep Purple, Led Zeppelin and Lucifer's Friend, NIGHT SUN sounded like no other although it embraced the same organ driven heaviness that many heavier bands were embracing during the day. The band knew no limits though and through the nine tracks that mostly cranked out heavy guitar riffs still found a way to incorporate the bassoon and saxophone into the mix. The album starts out with the blitzkrieg delivery of "Plastic Shotgun" which features some of the fastest riffing and accompanying bass and drum action that the 70s had to offer.

The album meanders in the world of psychedelia with the near 8-minute "Got A Bone Of My Own" which despite offering a heady excursion into trippiness didn't really fit in with the world of Krautrock as even during these more chilled moments the band was still based in bluesy rock that had moments of heavy guitar distortion, trippy echo effects and a heavy psych sound more in the vein of Jimi Hendrix than fellow countrymen Birth Control. One of the most prominent features of NIGHT SUN's proggy heavy rock was the idiosyncratic vocal style of Bruno Schaab who sounded like a more ambitious Robert Plant with his brash bravado and nasal tone structures. The composiitons were heavily laced with many hairpin rhythmic shifts with extra tight guitar and organ interplay. The riffs are particularly bombastic and tracks like "Nightmare" offer a frenzied adrenalized speedfest which prognosticates the worlds of thrash and power metal styles that would emerge in the next decade.

NIGHT SUN's sole contribution to the world of heavy 70s prog is a must for anyone seeking out the origins of metal and despite having a somewhat dated sound that perfectly exemplifies the zeitgeist of the era is a feast to the ears for those who love the early proto-metal sounds of blues rocks blasting in high decibels accompanied by rampaging tempos and touches of downtime with psychedelic time period freakiness. NIGHT SUN had its origins in the 60s band jazz band Take Five which never released any material but was popular on the Mannheim circuit. The last track on MOURNIN' titled "Don't Start Flying" offers a tribute to that band with clever saxophone and bassoon extras. While the band didn't really craft a new sound per se as it exemplified the standard bluesy rock with distortion and speed turned up a few notches, NIGHT SUN nevertheless offered an excellent adventurous album within that framework and is now considered one of those lost gems of the 70s.

siLLy puPPy



..::TRACK-LIST::..

1. Plastic Shotgun 2:34
2. Crazy Woman 4:22
3. Got A Bone Of My Own 7:45
4. Slush Pan Man 4:25
5. Living With The Dying 5:31
6. Come Down 5:48
7. Blind 4:24
8. Nightmare 3:16
9. Don't Start Flying 3:07



..::OBSADA::..

Bruno Schaab - Lead Vocals, Bass
Walter Kirchgassner - Guitar
Knut Rössler - Organ, Piano (1), Tenor Sax (9)
Ulrich Staudt - Drums, Percussion




https://www.youtube.com/watch?v=wFMbb4OT70Q



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

...( Info )...

Artist: Wade Hayes
Album: Discography
Year: (1995 - 2023)
Genre: Honky-tonk roots, barroom ballads, smooth baritone vocals, steel guitar and fiddle elements, with later recordings leaning slightly toward contemporary country polish.
Format: [mp3]

...( TrackList )...

1995 - Old Enough To Know Better

1996 - On a Good Night

1998 - When The Wrong One Loves You Right

2000 - Highways and Heartaches

2009 - Place To Turn Around

2015 - Go Live Your Life

2019 - Who Saved Who

2023 - Old Country Still Rocks

...( Info )...
Genre: Thrash Metal
Country of Artist (Band): Netherlands
Year of Release: 2017-2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps

...( TrackList )...
2017 - Excluded Human Being (EP)
2021 - Apocaholic
2023 - Bankrupt The Republic (EP)
2026 - Humanity

...( Info )...
Genre: Melodic Black Metal
Country of Artist (Band): Norway
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 31:01

...( TrackList )...
01. Vår harpe still, vår sleggje daud
02. Daudeskuggen
03. Martyrium
04. Sverd av Eld
05. Under Frosne Tindar

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


..::OPIS::..

Quebec quartet DISEMBODIMENT is finally storming back into the most rancid and filthiest Death Metal scene with their debut full album "Spiral Crypts", four years after their "Mutated Chaos" Ep but it was definitely worth the wait!

Disembodiment is a four-piece death metal band from the sewer ruins of Sherbrooke, Québec, Canada, featuring all four members of Oath div. 666.
Formed in 2020 with a different name from the former band because of the different sound and new lyrical themes, they opted to go for filthier, groovier and heavier sonic tormentation.
After the incredibly acclaimed debut Ep "Mutated Chaos" and several live appearances the band is now ready to dig you deep into the worst and most gruesome slasher experience your deviated mind has ever experienced!

For fans of Incantation, Corpus Offal, Undergang, Rottrevore.



..::TRACK-LIST::..

1. Morbid Infestation 05:39
2. Stygian Overture 04:38
3. Spiral Crypts 04:00
4. Putrification 02:36
5. Larval 04:43
6. Infected To Rot 03:20
7. Unknown Origins 01:52
8. Sentient Inorganic Mess 03:31



..::OBSADA::..

Carl - Bass, Vocals (backing)
Eric - Drums
Christian - Guitars, Vocals (backing)
Mathieu - Vocals



https://www.youtube.com/watch?v=0uSy1DPK7ko



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

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


..::OPIS::..

Quebec quartet DISEMBODIMENT is finally storming back into the most rancid and filthiest Death Metal scene with their debut full album "Spiral Crypts", four years after their "Mutated Chaos" Ep but it was definitely worth the wait!

Disembodiment is a four-piece death metal band from the sewer ruins of Sherbrooke, Québec, Canada, featuring all four members of Oath div. 666.
Formed in 2020 with a different name from the former band because of the different sound and new lyrical themes, they opted to go for filthier, groovier and heavier sonic tormentation.
After the incredibly acclaimed debut Ep "Mutated Chaos" and several live appearances the band is now ready to dig you deep into the worst and most gruesome slasher experience your deviated mind has ever experienced!

For fans of Incantation, Corpus Offal, Undergang, Rottrevore.



..::TRACK-LIST::..

1. Morbid Infestation 05:39
2. Stygian Overture 04:38
3. Spiral Crypts 04:00
4. Putrification 02:36
5. Larval 04:43
6. Infected To Rot 03:20
7. Unknown Origins 01:52
8. Sentient Inorganic Mess 03:31



..::OBSADA::..

Carl - Bass, Vocals (backing)
Eric - Drums
Christian - Guitars, Vocals (backing)
Mathieu - Vocals



https://www.youtube.com/watch?v=0uSy1DPK7ko



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

..::INFO::..

---------------------------------------------------------------------
The Beatles - Sgt. Pepper's Lonely Hearts Club Band - (2 CD)
(Deluxe Edition)
---------------------------------------------------------------------

Artist...............: The Beatles
Album................: Sgt. Pepper's Lonely Hearts Club Band
Genre................: Rock
Source...............: WEB
Year.................: 1967-2017
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 67 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Apple Corps Limited

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

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

1. The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Remix)[02:02]
2. The Beatles - With a Little Help From My Friends (Remix)[02:45]
3. The Beatles - Lucy In the Sky With Diamonds (Remix) [03:27]
4. The Beatles - Getting Better (Remix) [02:47]
5. The Beatles - Fixing a Hole (Remix) [02:37]
6. The Beatles - She's Leaving Home (Remix) [03:25]
7. The Beatles - Being For the Benefit of Mr. Kite! (Remix)[02:39]
8. The Beatles - Within You Without You (Remix) [05:07]
9. The Beatles - When I'm Sixty-Four (Remix) [02:40]
10. The Beatles - Lovely Rita (Remix) [02:45]
11. The Beatles - Good Morning Good Morning (Remix) [02:34]
12. The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Reprise) [Remix][01:20]
13. The Beatles - A Day In the Life (Remix) [05:30]

Playing Time.........: 39:44
Total Size...........: 264,90 MB

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

1. The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Take 9 and Speech)[02:36]
2. The Beatles - With a Little Help From My Friends (Take 1 / False Start and Take 2 / Instrumental)[03:16]
3. The Beatles - Lucy In the Sky With Diamonds (Take 1) [03:58]
4. The Beatles - Getting Better (Take 1 / Instrumental and Speech at the End)[02:18]
5. The Beatles - Fixing a Hole (Speech and Take 3) [03:27]
6. The Beatles - She's Leaving Home (Take 1 / Instrumental)[03:49]
7. The Beatles - Being For the Benefit of Mr. Kite! (Take 4)[03:07]
8. The Beatles - Within You Without You (Take 1 / Indian Instruments)[05:33]
9. The Beatles - When I'm Sixty-Four (Take 2) [02:58]
10. The Beatles - Lovely Rita (Speech and Take 9) [03:04]
11. The Beatles - Good Morning Good Morning (Take 8) [02:46]
12. The Beatles - Sgt. Pepper's Lonely Hearts Club Band (Reprise) [Speech and Take 8][01:56]
13. The Beatles - A Day In the Life (Take 1 With Hums) [04:51]
14. The Beatles - Strawberry Fields Forever (Take 7) [03:16]
15. The Beatles - Strawberry Fields Forever (Take 26) [03:19]
16. The Beatles - Strawberry Fields Forever (Stereo Mix 2015)[04:06]
17. The Beatles - Penny Lane (Take 6 / Instrumental) [02:56]
18. The Beatles - Penny Lane (Stereo Mix 2017) [02:59]

Playing Time.........: 01:00:24
Total Size...........: 365,71 MB

...( Info )...

Title: BONEY M. best by Zhyravlik
Year: 1975-1993
Genre: pop, electronic, soul, funk
Duration: 05:30:03
Format/Codec: MP3
Audio bitrate: 320


...( TrackList )...

[6:52] . 01-Baby Do You Wanna Bump (cover Prince Buster)
[3:44] . 02-New York City (cover Gilla)
[3:28] . 03-Daddy Cool
[4:48] . 04-Take The Heat Off Me (cover Marcella Bella)
[4:31] . 05-Lovin' Or Leavin'(cover Gilla)
[4:03] . 06-Sunny (cover Bobby Hebb)
[6:07] . 07-Help! Help! (cover Gilla)
[5:00] . 08-No Woman No Cry (cover Bob Marley)
[4:01] . 09-Fever (cover Little Willie John)
[3:58] . 10-Gloria, Can You Waddle
[4:38] . 11-Ma Baker
[3:31] . 12-Belfast
[4:46] . 13-Love For Sale
[4:58] . 14-Motherless Child
[2:41] . 15-Have You Ever Seen The Rain (cover Creedence Clearwater Revival)
[4:26] . 16-Plantation Boy (cover The Simon Sound)
[4:35] . 17-Still I'm Sad (cover The Yardbirds)
[3:32] . 18-A Woman Can Change A Man (cover Gina Oriol)
[10:39] . 19-Nightflight To Venus & Rasputin
[6:52] . 20-He Was A Steppenwolf
[6:24] . 21-Dancing In The Streets (cover Martha & The Vandellas)
[4:03] . 22-Brown Girl In The Ring
[6:21] . 23-Mary's Boy Child-Oh My Lord (cover Harry Belafonte)
[5:35] . 24-Never Change Lovers In The Middle Of The Night
[3:11] . 25-Painter Man
[4:05] . 26-Ribbons Of Blue
[4:22] . 27-Rivers Of Babylon (cover The Melodians)
[3:31] . 28-Voodoonight
[4:06] . 29-Heart Of Gold (cover Neil Young)
[3:10] . 30-Hooray! Hooray! It's A Holi-Holiday
[3:23] . 31-Calendar Song (January, February, March … )
[3:18] . 32-Bahama Mama
[3:37] . 33-Hold On I'm Coming (& Precious Wilson)(cover Sam & Dave)
[5:15] . 34-No More Chain Gang
[2:57] . 35-No Time To Lose
[4:54] . 36-Let It All Be Music (& Precious Wilson)
[5:08] . 37-Oceans Of Fantasy
[3:46] . 38-Gotta Go Home (cover Hallo Bimmelbahn)
[4:50] . 39-Bye Bye Bluebird
[5:57] . 40-El Lute
[11:48] . 41-Felicidad (Margherita) (cover Massara)
[2:51] . 42-Children Of Paradise
[6:07] . 43-I See A Boat (On The River)
[8:27] . 44-My Friend Jack (cover The Smoke)
[8:57] . 45-Gadda-Da-Vida (cover Children Of Paradise)
[3:30] . 46-Strange
[3:28] . 47-Malaika (cover Miriam Makeba)
[4:19] . 48-Breakaway (cover Kelvin James)
[4:47] . 49-Silly Confusion
[3:17] . 50-We Kill The World (Don't Kill The World)
[4:38] . 51-Consuela Biaz (cover La Belle Epoque)
[4:41] . 52-Boonoonoonoos
[3:02] . 53-African Moon
[5:11] . 54-Goodbye My Friend
[5:03] . 55-Going Back West (cover Jimmy Cliff)
[3:52] . 56-Babysitter (cover Gilla)
[2:57] . 57-Living Like A Moviestar (cover Gina Oriol)
[5:08] . 58-Somewhere In The World
[5:13] . 59-Exodus (Noah's Ark 2001)
[2:56] . 60-Barbarella Fortuneteller
[4:34] . 61-10.000 Lightyears
[8:16] . 62-Happy Song (& Bobby Farrell & The School-Rebels)(cover Baby’s Gang)
[4:32] . 63-Kalimba De Luna (cover Tony Esposito)
[4:12] . 64-Young, Free And Single (& Bobby Farrell)
[3:07] . 65-I Feel Good
[4:53] . 66-Dreadlock Holiday (cover 10cc)
[4:35] . 67-Chica Da Silva (cover Jorge Ben)
[4:36] . 68-Todos Buenos
[3:34] . 69-Lady Godiva
[3:17] . 70-Time To Remember

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


..::OPIS::..

‘So Far’, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don’t be fooled. This is still Faust: unpredictable, subversive, and unbound by convention.

The circumstances surrounding the album’s creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio - a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label.

“It’s A Rainy Day Sunshine Girl” sets the tone, sixteen bars of primal percussion exploding into a relentless rhythmic mantra, somewhere between a ritual and a rave-up. Sosna’s deadpan vocals and skeletal guitar, Diermaier’s thudding pulse, and Peron’s circular bassline create a mood both hypnotic and unsettling, on a track which feels as if it was beamed in from both the Velvet Underground’s New York loft and the outer edges of the Zodiak Free Arts Lab. The song’s descent into a howling maelstrom of Irmler’s droning organ and Wüsthoff’s screaming sax captures Faust’s unique balance of chaos and clarity. Through its taut two and a half minutes of folky finger picking and icy electronics, “On the Way to Abamäe” oscillates between pastoral prettiness and gloomy paranoia while “No Harm” sets a new standard for tone shift. Muted horns and swaying syncopation, gradually joined by bass and organ, build into a pensive wave of orchestral heft, cresting into a bruised and bluesy vision of tender Germanicana, which is quickly cast aside in favour all out freak-funk. It’s the kind of acid overload which would leave today’s microdosers a quivering wreck, but in the hands of Faust finds the sweet-spot of spectral joy, where mind expanding magic never quite takes you to the point of madness.

The madness soon comes, taking the form of the overlapped, unhinged and tape-chewed slide guitar which introduces the irresistible psych groove of the title track. Driven by the syncopated repetition of a jazzy rhythm section, punctuated by staccato horns, and topped with all kinds of swirling, swooning electronics and vox, “So Far” is arguably the most catchy moment in the Faust Oeuvre. “Mamie Is Blue” pivots sharply into proto-industrial terrain, prefiguring post-punk’s darkest urges by nearly a decade, while “I’ve Got My Car and My TV” is pure Dada, with radio static, voice fragments, and machine-like repetition coalescing into a media-age mantra of alienation. Brief and baffling interludes “Picnic On A Frozen River” and “Me Lack Space” dial up the disorientation before “Put On Your Socks” closes out the set with a foray into swing and ragtime, refracted through that particularly Faustian prism.

Taken as a whole, ‘So Far’ is less a linear progression from Faust’s debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, ‘So Far’ rearranges the wreckage into strange new shapes. There’s a sly humour here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren’t acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.

Bureau B


This reissue of the first two Faust albums on one disc is superlative value for money and a perfect introduction to probably the most challenging experimental rock music of the 1970s. It also shows two very different sides of the band's character.
'Faust' came like a bolt from the blue in the 1970s - the transparent outer sleeve showed an x-ray of a fist (the name means fist in German), the transparent sheet of liner notes contained a couple of apparently random newspaper stories and the information that producer/manager Uwe Nettelbeck liked the Beach Boys and the record itself was on transparent vinyl. All this seemed positively normal compared to the music, which made Zappa's Lumpy Gravy sound like Abba. The two lengthy pieces on side 1 were the result of painstaking work in the band's studio. They are dizzying collages of sounds and musical styles that reveal new subtleties every time they're heard. The side long Miss Fortune is an edited version of a drunken/stoned studio jam session that went further out than rock improv had ever gone before.

'Faust So Far' arrived in a black sleeve with paintings inside which apparently corresponded to each of the tracks. The album opens with the stomping, primal beat of 'It's A Rainy Day Sunshine Girl' - Roxy Music used a similar pattern on 'Bogus Man', and Brian Eno identified as one of the essential beats in 70s music. Following this outbreak of near-normality, the dream logic of the first album reasserts itself with abrupt shifts in sound and style. Acoustic interludes of almost classical formality are contrasted with electronic freak outs, and there are passages on this album which sound almost conventional. Of the two albums, this is the more readily accessible but also the more experimental - having mastered their studio technique, Faust created a seamless, otherworldly sequence of musical events that owes little to anything that had gone before but which was to have an influence out of all proportion to their album sales.

Faust are one of the legends of underground music, and these are the albums that the legend is based on. Essential listening.

Syzygy


This collection is absolutely essential for anyone interested in progressive music. Faust were some of the most daring Krautrock pioneers, and nowhere is that better displayed than on their debut, which consists of three long chunks of sound collage that will take your breath away.
Swirling feedback fuzz opens the album, followed by a sample of the Beatles and the Rolling Stones, as if to say "This is what you're not going to hear." The next thirty minutes would be difficult to describe in detail, so let me just say that it's a combination of Rock, Jazz, Classical and Musique Concrete at its best.

The second album, So Far, is much tamer and not as good, in my opinion, but there is still plenty to love about it. "It's a Rainy Day Sunshine Girl" is a masterpiece of rather minimalist pop, gradually adding elements to a simple beat and melody until the dramatic saxophone climax. There are also so inspired jams and a whirlwind of stylistic shifts, that will keep you on your toes the entire time. If you're going to buy only one Krautrock CD, this should probably be it.

thellama73



..::TRACK-LIST::..

1. It's A Rainy Day, Sunshine Girl 7:27
2. On The Way To Abamäe 2:40
3. No Harm (Voice-Jean-Hervé Peron) 10:17
4. So Far 6:20
5. Mamie Is Blue (Voice-Rudolf Sosna) 5:59
6. I've Got My Car And My TV (Conductor-Zappi, Voice-Faust) 3:45
7. Picnic On A Frozen River 0:37
8. Me Lack Space... (Voice-Jean-Hervé Peron) 0:47
9. ...In The Spirit (Voice-Jean-Hervé Peron) 2:11



..::OBSADA::..

Werner 'Zappi' Diermaier - drums, percussion
Hans Joachim Irmler - organ
Jean-Hervé Péron - vocals, bass guitar
Rudolf Sosna - vocals, electric guitar, keyboards
Gunther Wüsthoff - synthesizer, saxophone




https://www.youtube.com/watch?v=uXqlcdRkAG0



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

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


..::OPIS::..

‘So Far’, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don’t be fooled. This is still Faust: unpredictable, subversive, and unbound by convention.

The circumstances surrounding the album’s creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio - a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label.

“It’s A Rainy Day Sunshine Girl” sets the tone, sixteen bars of primal percussion exploding into a relentless rhythmic mantra, somewhere between a ritual and a rave-up. Sosna’s deadpan vocals and skeletal guitar, Diermaier’s thudding pulse, and Peron’s circular bassline create a mood both hypnotic and unsettling, on a track which feels as if it was beamed in from both the Velvet Underground’s New York loft and the outer edges of the Zodiak Free Arts Lab. The song’s descent into a howling maelstrom of Irmler’s droning organ and Wüsthoff’s screaming sax captures Faust’s unique balance of chaos and clarity. Through its taut two and a half minutes of folky finger picking and icy electronics, “On the Way to Abamäe” oscillates between pastoral prettiness and gloomy paranoia while “No Harm” sets a new standard for tone shift. Muted horns and swaying syncopation, gradually joined by bass and organ, build into a pensive wave of orchestral heft, cresting into a bruised and bluesy vision of tender Germanicana, which is quickly cast aside in favour all out freak-funk. It’s the kind of acid overload which would leave today’s microdosers a quivering wreck, but in the hands of Faust finds the sweet-spot of spectral joy, where mind expanding magic never quite takes you to the point of madness.

The madness soon comes, taking the form of the overlapped, unhinged and tape-chewed slide guitar which introduces the irresistible psych groove of the title track. Driven by the syncopated repetition of a jazzy rhythm section, punctuated by staccato horns, and topped with all kinds of swirling, swooning electronics and vox, “So Far” is arguably the most catchy moment in the Faust Oeuvre. “Mamie Is Blue” pivots sharply into proto-industrial terrain, prefiguring post-punk’s darkest urges by nearly a decade, while “I’ve Got My Car and My TV” is pure Dada, with radio static, voice fragments, and machine-like repetition coalescing into a media-age mantra of alienation. Brief and baffling interludes “Picnic On A Frozen River” and “Me Lack Space” dial up the disorientation before “Put On Your Socks” closes out the set with a foray into swing and ragtime, refracted through that particularly Faustian prism.

Taken as a whole, ‘So Far’ is less a linear progression from Faust’s debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, ‘So Far’ rearranges the wreckage into strange new shapes. There’s a sly humour here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren’t acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.

Bureau B


This reissue of the first two Faust albums on one disc is superlative value for money and a perfect introduction to probably the most challenging experimental rock music of the 1970s. It also shows two very different sides of the band's character.
'Faust' came like a bolt from the blue in the 1970s - the transparent outer sleeve showed an x-ray of a fist (the name means fist in German), the transparent sheet of liner notes contained a couple of apparently random newspaper stories and the information that producer/manager Uwe Nettelbeck liked the Beach Boys and the record itself was on transparent vinyl. All this seemed positively normal compared to the music, which made Zappa's Lumpy Gravy sound like Abba. The two lengthy pieces on side 1 were the result of painstaking work in the band's studio. They are dizzying collages of sounds and musical styles that reveal new subtleties every time they're heard. The side long Miss Fortune is an edited version of a drunken/stoned studio jam session that went further out than rock improv had ever gone before.

'Faust So Far' arrived in a black sleeve with paintings inside which apparently corresponded to each of the tracks. The album opens with the stomping, primal beat of 'It's A Rainy Day Sunshine Girl' - Roxy Music used a similar pattern on 'Bogus Man', and Brian Eno identified as one of the essential beats in 70s music. Following this outbreak of near-normality, the dream logic of the first album reasserts itself with abrupt shifts in sound and style. Acoustic interludes of almost classical formality are contrasted with electronic freak outs, and there are passages on this album which sound almost conventional. Of the two albums, this is the more readily accessible but also the more experimental - having mastered their studio technique, Faust created a seamless, otherworldly sequence of musical events that owes little to anything that had gone before but which was to have an influence out of all proportion to their album sales.

Faust are one of the legends of underground music, and these are the albums that the legend is based on. Essential listening.

Syzygy


This collection is absolutely essential for anyone interested in progressive music. Faust were some of the most daring Krautrock pioneers, and nowhere is that better displayed than on their debut, which consists of three long chunks of sound collage that will take your breath away.
Swirling feedback fuzz opens the album, followed by a sample of the Beatles and the Rolling Stones, as if to say "This is what you're not going to hear." The next thirty minutes would be difficult to describe in detail, so let me just say that it's a combination of Rock, Jazz, Classical and Musique Concrete at its best.

The second album, So Far, is much tamer and not as good, in my opinion, but there is still plenty to love about it. "It's a Rainy Day Sunshine Girl" is a masterpiece of rather minimalist pop, gradually adding elements to a simple beat and melody until the dramatic saxophone climax. There are also so inspired jams and a whirlwind of stylistic shifts, that will keep you on your toes the entire time. If you're going to buy only one Krautrock CD, this should probably be it.

thellama73



..::TRACK-LIST::..

1. It's A Rainy Day, Sunshine Girl 7:27
2. On The Way To Abamäe 2:40
3. No Harm (Voice-Jean-Hervé Peron) 10:17
4. So Far 6:20
5. Mamie Is Blue (Voice-Rudolf Sosna) 5:59
6. I've Got My Car And My TV (Conductor-Zappi, Voice-Faust) 3:45
7. Picnic On A Frozen River 0:37
8. Me Lack Space... (Voice-Jean-Hervé Peron) 0:47
9. ...In The Spirit (Voice-Jean-Hervé Peron) 2:11



..::OBSADA::..

Werner 'Zappi' Diermaier - drums, percussion
Hans Joachim Irmler - organ
Jean-Hervé Péron - vocals, bass guitar
Rudolf Sosna - vocals, electric guitar, keyboards
Gunther Wüsthoff - synthesizer, saxophone




https://www.youtube.com/watch?v=uXqlcdRkAG0



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

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


..::OPIS::..

FRETT to solowy projekt Maćka FRETTa, znanego z zespołów Job Karma i 7JK. Kuratora i dyrektora festiwali - Wroclaw Industrial Festival, Podwodny Wrocław, Energia Dźwięku.Organizatora koncertów pod szyldem Industrial Art, aktywisty wrocławskiej sceny niezależnej od połowy lat 90.

„The World as a Hologram” to płyta na której krwisty old school industrial zderza się czołowo ze stylistyką IDM/techno, tworząc surową paletę analogowych dźwięków opartych na tanecznych przemysłowo-plemiennych rytmach, przeszywaną bezdusznymi wokalami, z elementami noise i ambient.

UWAGA: Żadne zwierzę nie ucierpiało przy produkcji tego materiału i żaden dźwięk na albumie nie pochodzi z komputera.




Emocjonalna elektronika w piosenkowej konwencji.
Już debiutancki album wrocławskiej grupy Job Karma z 1998 roku wskazywał dobitnie, że tworzących ją artystów nie interesowało powielanie klasycznych schematów agresywnego industrialu z początku lat 80. Maciek Frett i Aureliusz Pisarzewski bez oporów sięgali bowiem po zdobycze nowej elektroniki. Przede wszystkim był to ambient, będący tak pojemną formułą, że mieściła ona zarówno spokojne i wyciszone, jak i bardziej mroczne i brutalne dźwięki. Tak było na kolejnych płytach zespołu – choćby „Newson” czy „Tchernobyl”.

W ostatniej dekadzie Job Karma jeszcze bardziej poszerzyła brzmienie. Na albumie „Punkt” pojawiły się taneczne rytmy i odwołania do modnego znów dziś EBM-u, natomiast „Society Suicide” przyniosło efektowne wariacje na temat IDM-u. Wszystko to złożyło się na oryginalną muzykę, wyróżniającą grupę na europejskiej scenie post-industrialnej. Konsekwencją tych poszukiwań okazuje się teraz być pierwsza solowa płyta Maćka Fretta – „The World As A Hologram”. Zawiera ona osiem nagrań, które powstały w ostatnich dwóch latach, a serwuje nam je ceniona niemiecka wytwórnia Ant Zen (a u nas Gusstaff).

W otwierającym krążek „Dreams” uderza chmurny EBM, łącząc acidowy loop z przesterowanym wokalem. Dla odmiany w „Two Cups” dostajemy chłodny IDM, w którym złowieszczy szept zostaje podszyty metalicznymi breakami. „Trust” brzmi niczym współczesna wariacja na temat „Metal Beat” Johna Foxxa, z jednej strony odwołująca się do ejtisowego electro, a z drugiej – atakująca wokalem w stylu Trenta Reznora. „Flag” to walcowaty industrial, miażdżący wojennymi bębnami, które wnoszą ze sobą gąszcz niepokojących efektów.

W „The Light” ożywają echa współpracy Fretta z Mattem Howdenem w ramach tria 7JK – bo „The Light” to właściwie… ballada, tylko zaaranżowana na elektroniczną modłę. Potem dostajemy dwa utwory najbliższe klasycznemu IDM-owi spod znaku Aphex Twina. Frett modeluje je jednak na swoją modłę, obdarzając damsko-męskimi wokalami i spazmami ziarnistego noise’u („Isolation”) lub acidowym pulsem i fabrycznymi stukami („Judge”). Całość wieńczy „Holy” – powoli rozwijające się techno, zanurzone w gęstych partiach klawiszy.

Nic dziwnego, że materiałem z „The World As Hologram” zainteresowała się wytwórnia Ant Zen. Osiem nagrań z solowego debiutu Fretta wpisuje się idealnie w katalog niemieckiej tłoczni, w którym nie brak artystów miksujących post-industrial z elementami klubowych stylistyk – od IDM-u, przez drum and bass, po electro. Płyta lidera Job Karmy wyróżnia się jednak… piosenkową konwencją, oczywiście potraktowaną z dużą dowolnością, ale jednak stawiającą wokal na ważnym miejscu. Dzięki temu powstaje pomysłowa muzyka, która ciekawie oddaje szeroki wachlarz brzmieniowych fascynacji swego autora.

Paweł Gzyl


FRETT is a new solo project by Maciej FRETT of Job Karma and 7JK, curator and director of Wrocław Industrial Festival, Wrocław Underwater, and Energy of the Sound, as well as organiser of concerts under the Industrial Art brand, active on the independent music scene in Wrocław, Poland since the mid-1990s.
On “The World as a Hologram” full-blooded old school industrial collides head-on with IDM/techno, creating a raw palette of analog sounds based on industrial and tribal dance rhythms, punctuated with soulless vocals with elements of noise and ambient.

DISCLAIMER: No animal was harmed in the recording of this material and no sound on the album was computer-generated.



..::TRACK-LIST::..

1. Dreams
2. Two Cups
3. Trust
4. Flag
5. The Light
6. Isolation
7. Judge
8. Holy




https://www.youtube.com/watch?v=0mDgsHUMjys



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

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


..::OPIS::..

FRETT to solowy projekt Maćka FRETTa, znanego z zespołów Job Karma i 7JK. Kuratora i dyrektora festiwali - Wroclaw Industrial Festival, Podwodny Wrocław, Energia Dźwięku.Organizatora koncertów pod szyldem Industrial Art, aktywisty wrocławskiej sceny niezależnej od połowy lat 90.

„The World as a Hologram” to płyta na której krwisty old school industrial zderza się czołowo ze stylistyką IDM/techno, tworząc surową paletę analogowych dźwięków opartych na tanecznych przemysłowo-plemiennych rytmach, przeszywaną bezdusznymi wokalami, z elementami noise i ambient.

UWAGA: Żadne zwierzę nie ucierpiało przy produkcji tego materiału i żaden dźwięk na albumie nie pochodzi z komputera.




Emocjonalna elektronika w piosenkowej konwencji.
Już debiutancki album wrocławskiej grupy Job Karma z 1998 roku wskazywał dobitnie, że tworzących ją artystów nie interesowało powielanie klasycznych schematów agresywnego industrialu z początku lat 80. Maciek Frett i Aureliusz Pisarzewski bez oporów sięgali bowiem po zdobycze nowej elektroniki. Przede wszystkim był to ambient, będący tak pojemną formułą, że mieściła ona zarówno spokojne i wyciszone, jak i bardziej mroczne i brutalne dźwięki. Tak było na kolejnych płytach zespołu – choćby „Newson” czy „Tchernobyl”.

W ostatniej dekadzie Job Karma jeszcze bardziej poszerzyła brzmienie. Na albumie „Punkt” pojawiły się taneczne rytmy i odwołania do modnego znów dziś EBM-u, natomiast „Society Suicide” przyniosło efektowne wariacje na temat IDM-u. Wszystko to złożyło się na oryginalną muzykę, wyróżniającą grupę na europejskiej scenie post-industrialnej. Konsekwencją tych poszukiwań okazuje się teraz być pierwsza solowa płyta Maćka Fretta – „The World As A Hologram”. Zawiera ona osiem nagrań, które powstały w ostatnich dwóch latach, a serwuje nam je ceniona niemiecka wytwórnia Ant Zen (a u nas Gusstaff).

W otwierającym krążek „Dreams” uderza chmurny EBM, łącząc acidowy loop z przesterowanym wokalem. Dla odmiany w „Two Cups” dostajemy chłodny IDM, w którym złowieszczy szept zostaje podszyty metalicznymi breakami. „Trust” brzmi niczym współczesna wariacja na temat „Metal Beat” Johna Foxxa, z jednej strony odwołująca się do ejtisowego electro, a z drugiej – atakująca wokalem w stylu Trenta Reznora. „Flag” to walcowaty industrial, miażdżący wojennymi bębnami, które wnoszą ze sobą gąszcz niepokojących efektów.

W „The Light” ożywają echa współpracy Fretta z Mattem Howdenem w ramach tria 7JK – bo „The Light” to właściwie… ballada, tylko zaaranżowana na elektroniczną modłę. Potem dostajemy dwa utwory najbliższe klasycznemu IDM-owi spod znaku Aphex Twina. Frett modeluje je jednak na swoją modłę, obdarzając damsko-męskimi wokalami i spazmami ziarnistego noise’u („Isolation”) lub acidowym pulsem i fabrycznymi stukami („Judge”). Całość wieńczy „Holy” – powoli rozwijające się techno, zanurzone w gęstych partiach klawiszy.

Nic dziwnego, że materiałem z „The World As Hologram” zainteresowała się wytwórnia Ant Zen. Osiem nagrań z solowego debiutu Fretta wpisuje się idealnie w katalog niemieckiej tłoczni, w którym nie brak artystów miksujących post-industrial z elementami klubowych stylistyk – od IDM-u, przez drum and bass, po electro. Płyta lidera Job Karmy wyróżnia się jednak… piosenkową konwencją, oczywiście potraktowaną z dużą dowolnością, ale jednak stawiającą wokal na ważnym miejscu. Dzięki temu powstaje pomysłowa muzyka, która ciekawie oddaje szeroki wachlarz brzmieniowych fascynacji swego autora.

Paweł Gzyl


FRETT is a new solo project by Maciej FRETT of Job Karma and 7JK, curator and director of Wrocław Industrial Festival, Wrocław Underwater, and Energy of the Sound, as well as organiser of concerts under the Industrial Art brand, active on the independent music scene in Wrocław, Poland since the mid-1990s.
On “The World as a Hologram” full-blooded old school industrial collides head-on with IDM/techno, creating a raw palette of analog sounds based on industrial and tribal dance rhythms, punctuated with soulless vocals with elements of noise and ambient.

DISCLAIMER: No animal was harmed in the recording of this material and no sound on the album was computer-generated.



..::TRACK-LIST::..

1. Dreams
2. Two Cups
3. Trust
4. Flag
5. The Light
6. Isolation
7. Judge
8. Holy




https://www.youtube.com/watch?v=0mDgsHUMjys



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

...( Info )...

Artist: Wynonna Judd
Album: Discography
Year: (1992 - 2021)
Genre: Country pop , country rock blend
Format: [mp3 320kbps]

...( Opis )...

"Ogólnie rzecz biorąc, jej brzmienie jest znane z potężnego wokalu, korzeni w muzyce country oraz dopracowanej produkcji w stylu Nashville."

...( TrackList )...

1992 - Wynonna

1993 - Tell Me Why

1996 - Revelations

1997 - Collection

1997 - The Other Side

2003 - What The World Needs Now Is Love

2005 - Her Story - Scenes From A Lifetime 2CD

2006 - A Classic Christmas

2016 - Love Can Build A Bridge Songs Of Faith, Hope & Love

2016 - Wynonna & The Big Noise

2017 - Big Bang Concert Series Wynonna Judd, Pt. 1 & Pt. 2 (Live)

2018 - All-Time Greatest Hits

2019 - The Child Single

2021 - Everything I Wanted Single

...( Info )...
Genre: Thrash/Death Metal/Hardcore
Country of Artist (Band): Ecuador
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 21:52

...( TrackList )...
01. War Without End
02. Saint Dog
03. Homicide Death Kill
04. O.b.d.c.
05. Hail Satan
06. Scalpel

...( Info )...
Genre: Death Metal/Deathcore
Country of Artist (Band): Mexico
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 26:45

...( TrackList )...
01. Christians Shall Fall
02. The Virus In Me
03. The Draconian Cult
04. Sadistic Being
05. Vengance
06. Lycan
07. The Rebirth (feat. Cristobal Aguilar)

...( Info )...
Genre: Progressive Death Metal
Country of Artist (Band): England
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 29:42

...( TrackList )...
01. Kaiju
02. Beyond the Horizon (Here Be Dragons)
03. Lost in the Mist
04. Harakiri
05. And the Cycle Shall Returneth...
06. As the Seas Boil

...( Info )...
Genre: Progressive Doom/Post-Metal
Country of Artist (Band): USA
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 29:44

...( TrackList )...
01. The New Fire
02. All Returns to Earth
03. Waters of Life
04. Beneath the Unrelenting Sun
05. Ascend (With Fire I Rise)
06. Present Moment Eternally
07. Anchored
08. Vision in Black

...( Info )...
Genre: Death Metal/Deathcore
Country of Artist (Band): USA
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 20:02

...( TrackList )...
01. Is This What You Præyed For?
02. A Most Discerning Meal
03. Echoes of the Brine
04. This Life is to Suffer
05. An Empyrean Perversion

...( Info )...
Genre: Death/Doom Metal
Country of Artist (Band): USA
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 45:39

...( TrackList )...
01. Autumnal Verses
02. Fate's Final Gasp
03. The Painless Flame
04. Frostbitten Millennia
05. Luster of Solitude
06. Dispassion

...( Info )...
Genre: Epic Heavy Metal
Country of Artist (Band): Colombia
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 30:37

...( TrackList )...
01. Hijo Maldito
02. Lejos de Casa
03. Heroes of Metal
04. Prisionero de la Noche
05. Requiem
06. Una y mil veces
07. Velocidad
08. Ya Caerán

...( Info )...

Składanka mireczka-muza mix vol.5
Gatunek: Różne
Rok:2026
mp3@320kbps
CZAS:01:44:05

...( TrackList )...

1.Captain Hollywood Project & Yuliya Biryulina - Flying High (DrBeat Rework)
2.DJ Xquizit & MexiHouse & Xavian - Obsesión
3.FASOLKI - Fantazja (Cover) (Remix)
4.Riyu - What We Started (Extended Mix)
5.BadBoyDee & Vegaboh & Skinny Jing & N3O - Take My Hand (Original Mix)
6.BadBoyDee & Vegaboh & Skinny Jing & N3O - Take My Hand (Extended)
7.Calvo - Axel F
8.Robert Chojnacki - Niecierpliwi (Remix)
9.BOY and GIRL - Get Down
10.Capital Cities - Safe And Sound (Remix)
11.BOY and GIRL - Shoot My F
12.MC Yama,Ristina - Don't Walk Away
13.Sidney Samson & STACHULA x Vandal Rock - Riverside With a Spring (2026)
14.DJ Reactive - Silver Nights (Extended Mix)
15.M-H-M - Beat Is My Heart
16.Lil Durk - AHHH HA
17.Speedcore Feat. Marc Korn, FSDW & Semitoo - Lay All Your Love On Me (Version Techno Mix)
18.ASUNA - Mystic
19.Stella Vista - Jealous
20.Fisun & Niki Four - Brother Louie (2026)
21.Arkins and DANIELLE and Zero and Jerom and Locs - Tocatoca
22.Marc-BaZZ & Vany-B - Nur ein Atem (Extended Mix)
23.Kris Kross - Jump (2026)
24.Braaheim - Dream On (Extended Mix)
25.Paul Webster & Yasmin Jane - Live Forever (Extended Mix)
26.Arkins and DANIELLE and Zero and Jerom and Locs - Missed Call (Extended Mix)
27.Culture Beat - Mr. Vain (Remix)
28.Francois & Louis Benton x Riddim Commission - Only Us (bootleg)
29.JD Rox, Hardveld, Michael Van Holland - Dope Feed (Club Mix)
30.Real McCoy - Automatic Lover (Remix)

...( Info )...

Artist: The Angels
Album: Discography (1977-2024)
Year: (1977-2024)
Genre: Rock
Format [FLAC]

...( TrackList )...

Albums:

The Angels (1977)
Face to Face (1978)
No Exit (1979)
Dark Room (1980)
Night Attack (1981)
Watch the Red (1983)
Two Minute Warning (1984)
Howling (1986)
Beyond Salvation (1990)
Red Back Fever (1991)
Skin & Bone (1998)
Take It to the Streets (2012)
Talk the Talk (2014)
Ninety Nine (2024)

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): Germany
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 36:46

...( TrackList )...
01. Dawn of a New Day
02. Kneel Before a Tyrant
03. Spellbound
04. The Cult
05. King of the World
06. Crusaders
07. We Will Thrive