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


..::OPIS::..

Jeśli ktoś wyczekiwał, że w 2020 roku na rynku reedycji pojawi się jakiś prawdziwy ‘killer’ to bez wątpienia wiadomość, która dotarła do nas już jakiś czas temu spełniła te oczekiwania w co najmniej 200 %. No ale nie może być inaczej, jeśli jedna z najwybitniejszych płyt w historii muzyki zostaje wydana w wersji 26 (!!!) dyskowej. Album In The Court Of The Crimson King o którym już pisałem na naszym blogu nie wymaga żadnej rekomendacji. Powiedziano o nim chyba wszystko i nie sądzę, aby ktokolwiek, kto zagląda na Rockową płytotekę mógł go nie znać na pamięć. Dlatego zamiast filozofować od razu skupimy się na zawartości najnowszego wydawnictwa legendarnych – King Crimson. Właściwie box nazywać się będzie The Complete 1969 Recordings, ale ponieważ w tym roku zespół nagrał tylko jeden (debiutancki) album i tak wszystko w tym pudełku kręcić się będzie wokół jego zawartości.

Oczywiście opisanie i przeanalizowanie całej zawartości boxu wymagało by co najmniej habilitacji, dlatego zerkniemy na wszystko w nieco bardziej powierzchowny i przystępny sposób. Zaznaczmy jednak od razu, że w zestawie mają się znaleźć WSZYSTKIE nagrania sesyjne oraz mixy (o jakich wiadomo że istnieją), komplet zachowanych rejestracji koncertowych i radiowych z 1969 roku oraz wybór nagrań z okresu przed wydaniem legendarnego debiutu.

Wydawnictwo rozpoczynają albumy live. Na siedmiu dyskach zamieszczono wydawane już wcześniej w różnych seriach i konfiguracjach legendarne występy zespołu m.in. w Hyde Parku czy Fillmore West i East. Ponoć specjalnie dla tej edycji wykonano nowe masteringi i zgranie materiałów z nośników źródłowych, co zauważalnie poprawiło ich jakość. Kolejne pięć kompaktów do wszelkie warianty zasadniczego albumu. A więc zremasterowana wersja z 1969 roku, remixy z lat 2009 i 2019 oraz masa dodatków, zawartych w poprzednich edycjach. Wreszcie to co chyba najciekawsze, czyli ostatnie 7 dysków.

Zawierają one na nowo zmiksowane do stereo wszystkie istniejące zapisy z sesji nagraniowej. Z jednej strony słuchanie np. 11 podejść do i Epitaph może być nieco nużące, ale z drugiej przecież wszyscy od zawsze marzymy, aby poznać jak najwięcej zachowanych outtake’ów naszych ukochanych zespołów. Dodatkowe dwie płyty audio to wybór na nowo zgranych i zremasterowanych nagrań zespołu Giles, Giles & Fripp z 1968 roku oraz CD z kapitalnymi rejestracjami dla Radia BBC (szkoda, że zachowało się ich tylko pięć). W pudełku znajdziemy jeszcze dwa DVD i cztery Blu-Raye – z masą nagrań zamieszczonych już na opisywanych kompaktach z tym, że podanych w innych formatach dźwiękowych (pliki stereo w wysokiej rozdzielczości, miksy przestrzenne w wielu wariantach, itp). Prawdziwą ucztą może okazać się nowy mix Stevena Wilsona wykonany w technologii Dolby Atmos (podobno solówki i mellotrony „krążą tam nad głową”, a instrumentalna sekcja w Moonchild, otrzymuje całkiem nową jakość). Posłuchamy – ocenimy. Całość zapakowano w pudło wielkości winylu, obok płyt zawierające oczywiście gruba 40-stronicowa książkę z wszelkimi informacjami i notkami o zamieszczonych w boxie nagraniach.

Moją pierwszą reakcją na wieść o przygotowywanym zestawie była myśl: super, ale na pewno nie kupię, bo i tak nigdy nie będę słuchał. Ale że wydawnictwo dotyczy, kto wie czy nie najważniejszej płyty w historii rocka progresywnego powoli zaczynam się przełamywać.

Paweł Nawara



The complete audio history of one of the most important debut albums of all time is presented across 26 discs in this boxed set. Featuring a new Dolby Atmos mix by Steven Wilson, 6 CDs' worth of session material on CD & Blu-Ray for the first time (fully mixed by David Singleton), a further disc of newly compiled studio material, the box also includes the original studio album, every alternate take known to exist, every mix known to exist, all live recordings known to exist & a selection of pre/Crimson 1968 recordings.

As with the previous seven boxed sets in the series, The Complete 1969 Recordings is housed in a vinyl sized box complete with a booklet featuring an introduction by Robert Fripp, notes about the source tapes from David Singleton, sleeve-notes by King Crimson biographer Sid Smith, previously unseen photos from the recordings sessions, additional memorabilia and a protective outer sleeve.

Having done 5.1 Surround Sound mixes for both the 40th & 50th-anniversary editions of the album, Steven Wilson was able to take full advantage of the opportunities offered by Atmos mixing, allowing for far greater movement within the mix itself. As he put it: "I've definitely had a bit more fun with the Atmos mix, watch out for solos and mellotrons circling overhead!" While the improv section of 'Moonchild' is a particular beneficiary of this approach, the mix is very active, with plenty of ear-catching moments to offer to listeners.

Likewise, significant work on the multi-track tapes was undertaken by David Singleton - who mixed all of the existing multi-track sessions recordings to stereo as well as running the single track CD length 'Let's Make a Hit Waxing' - from those same tapes. "Listening to the original recording sessions was astonishing. Time collapses and you are suddenly there in the studio with a young band, just starting out, as they experiment with recording their first album. It is not so much listening to a slick product, more witnessing a process. You are present at the birth.”



..::TRACK-LIST::..

CD 8 - In The Court Of The Crimson King, Original Master Edition, Expanded:
1. 21st Century Schizoid Man 7:22
2. I Talk To The Wind 6:05
3. Epitaph 8:48
4. Moonchild 12:13
5. The Court Of The Crimson King 9:28

Additional Material:
6. 21st Century Schizoid Man 6:46
7. I Talk To The Wind 4:15
8. Epitaph 9:06
9. The Court of the Crimson King (Single A Side) 3:23
10. The Court Of The Crimson King (Single B Side) 4:30



https://www.youtube.com/watch?v=0EslOt4njQc



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

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


..::OPIS::..

Jeśli ktoś wyczekiwał, że w 2020 roku na rynku reedycji pojawi się jakiś prawdziwy ‘killer’ to bez wątpienia wiadomość, która dotarła do nas już jakiś czas temu spełniła te oczekiwania w co najmniej 200 %. No ale nie może być inaczej, jeśli jedna z najwybitniejszych płyt w historii muzyki zostaje wydana w wersji 26 (!!!) dyskowej. Album In The Court Of The Crimson King o którym już pisałem na naszym blogu nie wymaga żadnej rekomendacji. Powiedziano o nim chyba wszystko i nie sądzę, aby ktokolwiek, kto zagląda na Rockową płytotekę mógł go nie znać na pamięć. Dlatego zamiast filozofować od razu skupimy się na zawartości najnowszego wydawnictwa legendarnych – King Crimson. Właściwie box nazywać się będzie The Complete 1969 Recordings, ale ponieważ w tym roku zespół nagrał tylko jeden (debiutancki) album i tak wszystko w tym pudełku kręcić się będzie wokół jego zawartości.

Oczywiście opisanie i przeanalizowanie całej zawartości boxu wymagało by co najmniej habilitacji, dlatego zerkniemy na wszystko w nieco bardziej powierzchowny i przystępny sposób. Zaznaczmy jednak od razu, że w zestawie mają się znaleźć WSZYSTKIE nagrania sesyjne oraz mixy (o jakich wiadomo że istnieją), komplet zachowanych rejestracji koncertowych i radiowych z 1969 roku oraz wybór nagrań z okresu przed wydaniem legendarnego debiutu.

Wydawnictwo rozpoczynają albumy live. Na siedmiu dyskach zamieszczono wydawane już wcześniej w różnych seriach i konfiguracjach legendarne występy zespołu m.in. w Hyde Parku czy Fillmore West i East. Ponoć specjalnie dla tej edycji wykonano nowe masteringi i zgranie materiałów z nośników źródłowych, co zauważalnie poprawiło ich jakość. Kolejne pięć kompaktów do wszelkie warianty zasadniczego albumu. A więc zremasterowana wersja z 1969 roku, remixy z lat 2009 i 2019 oraz masa dodatków, zawartych w poprzednich edycjach. Wreszcie to co chyba najciekawsze, czyli ostatnie 7 dysków.

Zawierają one na nowo zmiksowane do stereo wszystkie istniejące zapisy z sesji nagraniowej. Z jednej strony słuchanie np. 11 podejść do i Epitaph może być nieco nużące, ale z drugiej przecież wszyscy od zawsze marzymy, aby poznać jak najwięcej zachowanych outtake’ów naszych ukochanych zespołów. Dodatkowe dwie płyty audio to wybór na nowo zgranych i zremasterowanych nagrań zespołu Giles, Giles & Fripp z 1968 roku oraz CD z kapitalnymi rejestracjami dla Radia BBC (szkoda, że zachowało się ich tylko pięć). W pudełku znajdziemy jeszcze dwa DVD i cztery Blu-Raye – z masą nagrań zamieszczonych już na opisywanych kompaktach z tym, że podanych w innych formatach dźwiękowych (pliki stereo w wysokiej rozdzielczości, miksy przestrzenne w wielu wariantach, itp). Prawdziwą ucztą może okazać się nowy mix Stevena Wilsona wykonany w technologii Dolby Atmos (podobno solówki i mellotrony „krążą tam nad głową”, a instrumentalna sekcja w Moonchild, otrzymuje całkiem nową jakość). Posłuchamy – ocenimy. Całość zapakowano w pudło wielkości winylu, obok płyt zawierające oczywiście gruba 40-stronicowa książkę z wszelkimi informacjami i notkami o zamieszczonych w boxie nagraniach.

Moją pierwszą reakcją na wieść o przygotowywanym zestawie była myśl: super, ale na pewno nie kupię, bo i tak nigdy nie będę słuchał. Ale że wydawnictwo dotyczy, kto wie czy nie najważniejszej płyty w historii rocka progresywnego powoli zaczynam się przełamywać.

Paweł Nawara



The complete audio history of one of the most important debut albums of all time is presented across 26 discs in this boxed set. Featuring a new Dolby Atmos mix by Steven Wilson, 6 CDs' worth of session material on CD & Blu-Ray for the first time (fully mixed by David Singleton), a further disc of newly compiled studio material, the box also includes the original studio album, every alternate take known to exist, every mix known to exist, all live recordings known to exist & a selection of pre/Crimson 1968 recordings.

As with the previous seven boxed sets in the series, The Complete 1969 Recordings is housed in a vinyl sized box complete with a booklet featuring an introduction by Robert Fripp, notes about the source tapes from David Singleton, sleeve-notes by King Crimson biographer Sid Smith, previously unseen photos from the recordings sessions, additional memorabilia and a protective outer sleeve.

Having done 5.1 Surround Sound mixes for both the 40th & 50th-anniversary editions of the album, Steven Wilson was able to take full advantage of the opportunities offered by Atmos mixing, allowing for far greater movement within the mix itself. As he put it: "I've definitely had a bit more fun with the Atmos mix, watch out for solos and mellotrons circling overhead!" While the improv section of 'Moonchild' is a particular beneficiary of this approach, the mix is very active, with plenty of ear-catching moments to offer to listeners.

Likewise, significant work on the multi-track tapes was undertaken by David Singleton - who mixed all of the existing multi-track sessions recordings to stereo as well as running the single track CD length 'Let's Make a Hit Waxing' - from those same tapes. "Listening to the original recording sessions was astonishing. Time collapses and you are suddenly there in the studio with a young band, just starting out, as they experiment with recording their first album. It is not so much listening to a slick product, more witnessing a process. You are present at the birth.”



..::TRACK-LIST::..

CD 7 - Live At The Fillmore West, December 13 & 14, 1969:
December 13
1. Mantra 3:46
2. Travel Weary Capricorn 3:17
3. Improv Travel Bleary Capricorn 2:23
4. Mars 8:57

December 14
5. The Court Of The Crimson King 7:00
6. Announcement 0:23
7. Drop In 5:15
8. A Man, A City 11:20
9. Announcement 0:24
10. Epitaph 7:31
11. Announcement 0:50
12. 21st Century Schizoid Man 7:37
13. Announcement 0:25
14. Mars 9:44



https://www.youtube.com/watch?v=0EslOt4njQc



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

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


..::OPIS::..

Jeśli ktoś wyczekiwał, że w 2020 roku na rynku reedycji pojawi się jakiś prawdziwy ‘killer’ to bez wątpienia wiadomość, która dotarła do nas już jakiś czas temu spełniła te oczekiwania w co najmniej 200 %. No ale nie może być inaczej, jeśli jedna z najwybitniejszych płyt w historii muzyki zostaje wydana w wersji 26 (!!!) dyskowej. Album In The Court Of The Crimson King o którym już pisałem na naszym blogu nie wymaga żadnej rekomendacji. Powiedziano o nim chyba wszystko i nie sądzę, aby ktokolwiek, kto zagląda na Rockową płytotekę mógł go nie znać na pamięć. Dlatego zamiast filozofować od razu skupimy się na zawartości najnowszego wydawnictwa legendarnych – King Crimson. Właściwie box nazywać się będzie The Complete 1969 Recordings, ale ponieważ w tym roku zespół nagrał tylko jeden (debiutancki) album i tak wszystko w tym pudełku kręcić się będzie wokół jego zawartości.

Oczywiście opisanie i przeanalizowanie całej zawartości boxu wymagało by co najmniej habilitacji, dlatego zerkniemy na wszystko w nieco bardziej powierzchowny i przystępny sposób. Zaznaczmy jednak od razu, że w zestawie mają się znaleźć WSZYSTKIE nagrania sesyjne oraz mixy (o jakich wiadomo że istnieją), komplet zachowanych rejestracji koncertowych i radiowych z 1969 roku oraz wybór nagrań z okresu przed wydaniem legendarnego debiutu.

Wydawnictwo rozpoczynają albumy live. Na siedmiu dyskach zamieszczono wydawane już wcześniej w różnych seriach i konfiguracjach legendarne występy zespołu m.in. w Hyde Parku czy Fillmore West i East. Ponoć specjalnie dla tej edycji wykonano nowe masteringi i zgranie materiałów z nośników źródłowych, co zauważalnie poprawiło ich jakość. Kolejne pięć kompaktów do wszelkie warianty zasadniczego albumu. A więc zremasterowana wersja z 1969 roku, remixy z lat 2009 i 2019 oraz masa dodatków, zawartych w poprzednich edycjach. Wreszcie to co chyba najciekawsze, czyli ostatnie 7 dysków.

Zawierają one na nowo zmiksowane do stereo wszystkie istniejące zapisy z sesji nagraniowej. Z jednej strony słuchanie np. 11 podejść do i Epitaph może być nieco nużące, ale z drugiej przecież wszyscy od zawsze marzymy, aby poznać jak najwięcej zachowanych outtake’ów naszych ukochanych zespołów. Dodatkowe dwie płyty audio to wybór na nowo zgranych i zremasterowanych nagrań zespołu Giles, Giles & Fripp z 1968 roku oraz CD z kapitalnymi rejestracjami dla Radia BBC (szkoda, że zachowało się ich tylko pięć). W pudełku znajdziemy jeszcze dwa DVD i cztery Blu-Raye – z masą nagrań zamieszczonych już na opisywanych kompaktach z tym, że podanych w innych formatach dźwiękowych (pliki stereo w wysokiej rozdzielczości, miksy przestrzenne w wielu wariantach, itp). Prawdziwą ucztą może okazać się nowy mix Stevena Wilsona wykonany w technologii Dolby Atmos (podobno solówki i mellotrony „krążą tam nad głową”, a instrumentalna sekcja w Moonchild, otrzymuje całkiem nową jakość). Posłuchamy – ocenimy. Całość zapakowano w pudło wielkości winylu, obok płyt zawierające oczywiście gruba 40-stronicowa książkę z wszelkimi informacjami i notkami o zamieszczonych w boxie nagraniach.

Moją pierwszą reakcją na wieść o przygotowywanym zestawie była myśl: super, ale na pewno nie kupię, bo i tak nigdy nie będę słuchał. Ale że wydawnictwo dotyczy, kto wie czy nie najważniejszej płyty w historii rocka progresywnego powoli zaczynam się przełamywać.

Paweł Nawara



The complete audio history of one of the most important debut albums of all time is presented across 26 discs in this boxed set. Featuring a new Dolby Atmos mix by Steven Wilson, 6 CDs' worth of session material on CD & Blu-Ray for the first time (fully mixed by David Singleton), a further disc of newly compiled studio material, the box also includes the original studio album, every alternate take known to exist, every mix known to exist, all live recordings known to exist & a selection of pre/Crimson 1968 recordings.

As with the previous seven boxed sets in the series, The Complete 1969 Recordings is housed in a vinyl sized box complete with a booklet featuring an introduction by Robert Fripp, notes about the source tapes from David Singleton, sleeve-notes by King Crimson biographer Sid Smith, previously unseen photos from the recordings sessions, additional memorabilia and a protective outer sleeve.

Having done 5.1 Surround Sound mixes for both the 40th & 50th-anniversary editions of the album, Steven Wilson was able to take full advantage of the opportunities offered by Atmos mixing, allowing for far greater movement within the mix itself. As he put it: "I've definitely had a bit more fun with the Atmos mix, watch out for solos and mellotrons circling overhead!" While the improv section of 'Moonchild' is a particular beneficiary of this approach, the mix is very active, with plenty of ear-catching moments to offer to listeners.

Likewise, significant work on the multi-track tapes was undertaken by David Singleton - who mixed all of the existing multi-track sessions recordings to stereo as well as running the single track CD length 'Let's Make a Hit Waxing' - from those same tapes. "Listening to the original recording sessions was astonishing. Time collapses and you are suddenly there in the studio with a young band, just starting out, as they experiment with recording their first album. It is not so much listening to a slick product, more witnessing a process. You are present at the birth.”



..::TRACK-LIST::..

CD 7 - Live At The Fillmore West, December 13 & 14, 1969:
December 13
1. Mantra 3:46
2. Travel Weary Capricorn 3:17
3. Improv Travel Bleary Capricorn 2:23
4. Mars 8:57

December 14
5. The Court Of The Crimson King 7:00
6. Announcement 0:23
7. Drop In 5:15
8. A Man, A City 11:20
9. Announcement 0:24
10. Epitaph 7:31
11. Announcement 0:50
12. 21st Century Schizoid Man 7:37
13. Announcement 0:25
14. Mars 9:44



https://www.youtube.com/watch?v=0EslOt4njQc



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

..::INFO::..

---------------------------------------------------------------------
Billy Joel - Japanese Singles Collection - (2 CD)
Greatest Hits
---------------------------------------------------------------------

Artist...............: Billy Joel
Album................: Japanese Singles Collection
Genre................: Rock, Pop
Source...............: CD
Year.................: 2021
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Sony Records Int'l

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

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

1. Billy Joel - Piano Man [04:36]
2. Billy Joel - Just The Way You Are [03:32]
3. Billy Joel - The Stranger [04:12]
4. Billy Joel - She's Always A Woman [03:21]
5. Billy Joel - My Life [03:52]
6. Billy Joel - Honesty [03:51]
7. Billy Joel - Big Shot [03:46]
8. Billy Joel - Until The Night [05:07]
9. Billy Joel - You May Be Right [04:13]
10. Billy Joel - It's Still Rock And Roll To Me [02:58]
11. Billy Joel - Don't Ask Me Why [02:58]
12. Billy Joel - All For Leyna [04:14]
13. Billy Joel - Say Goodbye To Hollywood [04:19]
14. Billy Joel - Los Angelenos [03:51]
15. Billy Joel - Pressure [03:17]
16. Billy Joel - Allentown [03:51]
17. Billy Joel - Goodnight Sigon [05:53]
18. Billy Joel - Tell Her About It [03:42]
19. Billy Joel - This Night [04:17]
20. Billy Joel - Uptown Girl [03:15]

Playing Time.........: 01:19:15
Total Size...........: 556,94 MB

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

1. Billy Joel - An Innocent Man [05:19]
2. Billy Joel - The Longest Time [03:39]
3. Billy Joel - Leave A Tender Moment Alone [03:51]
4. Billy Joel - Keeping The Faith [04:38]
5. Billy Joel - You're Only Human (Second Wind) [04:48]
6. Billy Joel - The Night Is Still Young [04:10]
7. Billy Joel - Modern Woman [03:50]
8. Billy Joel - A Matter Of Trust [04:10]
9. Billy Joel - This Is The Time [05:00]
10. Billy Joel - Baby Grand (feat. Ray Charles) [04:04]
11. Billy Joel - Back In The U.S.S.R. [02:39]
12. Billy Joel - We Didn't Start The Fire [04:28]
13. Billy Joel - I Go To Extremes [04:22]
14. Billy Joel - The Downeaster 'Alexa' [03:44]
15. Billy Joel - That's Not Her Style [05:09]
16. Billy Joel - And So It Goes [03:37]
17. Billy Joel - The River Of Dreams [04:02]
18. Billy Joel - All About Soul [04:19]
19. Billy Joel - Lullabye (Goodnight, My Angel) [03:33]

Playing Time.........: 01:19:33
Total Size...........: 557,89 MB

...( Info )...

Składanka mireczka-stare,nowe,najnowsze vol.21
Gatunek: Dance,Disco,Vixa/Pompa,Trance
Rok:2025
mp3@320kbps
CZAS:01:34:06

...( TrackList )...

1.Lady Pank - Zawsze Tam Gdzie Ty (Remix)
2.Timbaland - The Way I Are ft. Keri Hilson, D.O.E., Sebastian (Remix)
3.TNT Records - Valhallah
4.MordanEyez & KOLBEIN - Sugar Daddy (Extended Mix)
5.Big Tim & Freischwimmer Feat. Lynk - OHNE DICH
6.Lion Dreher & Danwel & MAASSIVE - Take Me (Extended Mix)
7.Rihanna - Breakin' Dishes (Bootleg)
8.ZILITIK vs F.R. David - Words (Extended Remix)
9.Chimera State & Beatrix Delgado x Stay-C - Got to Know (Remix)
10.Lexor - It's My Life
11.Lunax & PAST & D.T.E Feat. Million Stylez - Miss Fatty (Techno Mix)
12.Mattmoth & SKULLY & Emily Fox - Naked in the Rain (Extended Mix)
13.R3SPAWN & Reprobeater & Swae Boy - Fairytale Gone Bad
14.Timmy Trumpet & Vion Konger - Safe and Sound (Extended Mix)
15.Svbline - N As In Paris
16.Danny & Freja - If Only You (Remix)
17.HELLFIELD & MACIAS - Fendi RMX (Bootleg)
18.Bovski Feat. Kwabs - Walk
19.Hellfield & Macias x CrackHouse - FENDI (Club Remix)
20.PABLO - GUCCI PRADA (Remix) 2025
21.Paffendorf & DJ DRECKISCH - Crazy Sexy Marvellous (Extended Remix)
22.Holy Priest & Rekkt - DOMINATION
23.Enerdizer & Chris Nitro, Jens O. Feat. Nina Fischer - I Wanna Be (Your Lover Tonight) (Extended Mix)
24.Zmeex - Crystal (Original Mix)
25.Charlie Sparks - Old School Love (Extended Mix)
26.N-Force & Ultrabeat - Right By Your Side (Remix)
27.DJ Kremik & Dj Klevex - MANIA SQUAD
28.HYPERKID - Not Gonna Get Us (Extended Mix)
29.Carte Blanq, Nils van Zandt & Maxx Power - 33 Max Verstappen (remix)
30.2PAC & DMX – BREAKS (Club Mix)

..::INFO::..

---------------------------------------------------------------------
Level 42 - Collected - (3 CD)
---------------------------------------------------------------------

Artist...............: Level 42
Album................: Collected
Genre................: Pop
Source...............: CD
Year.................: 2016
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 67-73 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music

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

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Tracklisting - CD 1
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1. Level 42 - Sandstorm [04:42]
2. Level 42 - Love Meeting Love [04:47]
3. Level 42 - (Flying On The) Wings Of Love [03:50]
4. Level 42 - Love Games [04:02]
5. Level 42 - Turn It On [03:43]
6. Level 42 - Starchild [03:52]
7. Level 42 - Dune Tune [04:51]
8. Level 42 - Are You Hearing (what I Hear)? [03:38]
9. Level 42 - Weave Your Spell [03:57]
10. Level 42 - The Chinese Way [04:04]
11. Level 42 - Out Of Sight Out Of Mind [04:27]
12. Level 42 - The Sun Goes Down (Living It Up) [03:48]
13. Level 42 - Micro-Kid [03:51]
14. Level 42 - People [04:57]
15. Level 42 - Hot Water [03:40]
16. Level 42 - The Chant Has Begun [04:20]
17. Level 42 - Follow Me [04:03]
18. Level 42 - Something About You [03:47]
19. Level 42 - Leaving Me Now [03:33]

Playing Time.........: 01:18:00
Total Size...........: 521,29 MB

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Tracklisting - CD 2
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1. Level 42 - Lessons In Love [04:03]
2. Level 42 - Running In The Family [03:58]
3. Level 42 - To Be With You Again [03:58]
4. Level 42 - It's Over [04:43]
5. Level 42 - Children Say [04:29]
6. Level 42 - Heaven In My Hands [04:09]
7. Level 42 - Take A Look [04:43]
8. Level 42 - Tracie [03:26]
9. Level 42 - Take Care Of Yourself [04:30]
10. Level 42 - Guaranteed [03:56]
11. Level 42 - Overtime [03:49]
12. Level 42 - My Father's Shoes [04:10]
13. Level 42 - Forever Now [04:00]
14. Level 42 - All Over You [03:47]
15. Level 42 - Love In A Peaceful World [04:27]
16. Level 42 - The Way Back Home [03:45]
17. Level 42 - Dive Into The Sun [03:50]
18. Level 42 - Sirens [04:01]
19. Level 42 - Mind On You [03:51]

Playing Time.........: 01:17:43
Total Size...........: 569,84 MB

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Tracklisting - CD 3
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1. Level 42 - Love Games (Full Lenght Version) [07:20]
2. Level 42 - The Chinese Way (Extended John Luongo Remix / New York Remix)[07:22]
3. Level 42 - Hot Water (Master Mix) [10:23]
4. Level 42 - Something About You (Shep Pettibone Remix) [07:59]
5. Level 42 - Lessons In Love (Shep Pettibone Remix) [07:47]
6. Level 42 - World Machine (Shep Pettibone Remix) [05:45]
7. Level 42 - Running In The Family (Dave O' Remix) [06:33]
8. Level 42 - To Be With You Again (A.D.S.C. Mix) [05:46]
9. Level 42 - Children Say (Extended Remix) [05:37]
10. Level 42 - Heaven In My Hands (Extended Version) [07:14]
11. Level 42 - Take A Look (Extended Mix) [07:41]

Playing Time.........: 01:19:33
Total Size...........: 566,26 MB

TRACKLISTA:

1. Freedom Feat. Egon, Szoku (TOCZKA CREW)
2. Życiowa Karuzela
3. Lojalność przede wszystkim Feat. Nizioł, Buśka (SYNDYKAT), Ewelina Peca
4. Jak Bóg da Feat. Buśka, Brodinio, Szalony
5. Dobra Passa Feat. Sadoch, Nizioł
6. Afera koperkowa Feat. Profus PPZ, Czarny
7. Jakość nie ilość Feat. Adi TE, Riko
8. 1312 Feat. Fidżi, Kaczy Proceder
9. Walczę by wygrywać Feat. Lukasyno, Żabol, Arczi
10. Modlitwa Feat. Bonus RPK, Korwin ES GANG, Nizioł
11. Cmentarna hiena Feat. TPS, Wieszak (ZDR)
12. Przekrój Feat. Chinczyk, Raptus
13. Nieśmiertelni Feat. Brat
14. Oda do miłości Feat. Men KRK, Janusz K.
15. Czas ucieka Feat. Nizioł, Arczi, Siupacz, Żabol (SZAJKA)
16. A pamiętasz jak...


DANE TECHNICZNE:

Wielkość uploadu: 139,3 MB
Format/Kodek: Mp3

TRACKLISTA:

1. W objęciach Morfeusza /śpiew Marcin Lićwinko
2. Promienie /śpiew Monika Horodek
3. Czego mi brak
4. Czas nas zmienił
5. 7 żyć Feat. Siara
6. W prawdzie
7. Bezsenność /śpiew Kroolik Underwood
8. Nie ma ludzi idealnych
9. Dalej w grze Feat. Kriso
10. Zaufaj dobru / gitara klasyczna Artur Miernicki
11. Sen na jawie / śpiew Monika Horodek
12. W sercu nosisz dom Feat. Fidżi
13. Szklane tulipany
14. Dzisiaj wszystko jest inaczej
15. Z przeznaczeniem nie wygrasz


DANE TECHNICZNE:

Wielkość uploadu: 130,3 MB
Format/Kodek: Mp3

...( Info )...
Genre: Death Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 26:58

...( TrackList )...
01. Groaning Retch
02. Succulent Slop
03. Meticulous Mutilation
04. Sloshed in Filth
05. Deliberate Deformity
06. Putrid Pulse
07. Constrict and Consume
08. Cathemeral Bloodshed

...( Info )...
Genre: Death Metal
Country of Artist (Band): Denmark
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 19:55

...( TrackList )...
1. Beyond Lobotomy
2. Cadaver Creation
3. March of the Ravenous Dead
4. Dødsangst
5. A Single Muscle Twitches as I Wrest My Blade from Your Gut to Your Throat and Leave You Dying, Helpless, and Alone
6. Carrion Offspring
7. Gurgling Pustulence

..::INFO::..

Vangelis (gr. Βαγγέλης), właśc. Ewangelos Odiseas Papatanasiu (gr. Ευάγγελος Οδυσσέας Παπαθανασίου; ur. 29 marca 1943 w Agrii koło Wolos, zm. 17 maja 2022 w Paryżu - grecki kompozytor muzyki elektronicznej i filmowej. Vangelis urodził się 29 marca 1943 roku w Agrii koło Wolos, w Grecji. Edukację muzyczną rozpoczął w wieku 4 lat, a już w wieku 6 lat miał swój pierwszy publiczny występ, na którym prezentował własne kompozycje. Vangelis był w dużej części samoukiem - odmawiał pobierania lekcji gry na pianinie, a w ciągu swojej kariery nie zdobył formalnej wiedzy na temat notacji muzycznej. Uczył się muzyki poważnej, malarstwa i reżyserii filmowej na Akademii Sztuk Pięknych w Atenach. Zyskał światową sławę dzięki swoim wyjątkowym, często epickim kompozycjom, które łączyły elementy muzyki elektronicznej, symfonicznej i rockowej.

Title: Beaubourg

Artist: Vangelis

Country: Grecja

Year: 1978

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( Track list )...

1. Beaubourg part I
2. Beaubourg part II

..::INFO::..

Baxter Dury to jeden z najbardziej intrygujących brytyjskich artystów ostatnich dwóch dekad. Syn legendarnego Iana Dury’ego (wokalisty The Blockheads), od początku kariery wypracował własny, rozpoznawalny styl. Jego muzyka to unikalna mieszanka leniwego, zmysłowego spoken word, filmowej melancholii i retro-elektroniki, w której ironia i emocjonalna szczerość idą ramię w ramię. Na scenie Dury przyciąga charyzmą i teatralnym luzem, a jego koncerty balansują między intymnym performansem a klubowym transem. Wstawka zawiera dziewiąty, najnowszy album artysty.

Artist: Baxter Dury

Title: Allbarone

Country: Wielka Brytania

Year: 2025

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Allbarone (with JGrrey)
2.Schadenfreude
3.Kubla Khan
4.Alpha Dog
5.The Other Me
6.Hapsburg
7.Return of the Sharp Heads (with JGrrey)
8.Mockingjay (with JGrrey)
9.Mr W4

..::INFO::..

Catch 22 ska-punkowy zespół z East Brunswick, New Jersey. Utworzony został przez gitarzystę i wokalistę Tomasa Kalnokyego i perkusistę Chrisa Greera. W skład zespołu wchodzą także: Kevin Gunther (trąbka), Josh Ansley (gitara basowa), Ryan Eldred (saksofon) i Jamie Egan (puzon). Nazwa zespołu nawiązuje do tytułu znanej powieści amerykańskiego pisarza Josepha Hellera "Paragraf 22". Nagrali cztery albumy długogrające. Alone in a Crowd to czwarty album Catch 22.

Title: Permanent Revolution

Artist: Catch 22

Country: USA

Year: 2006

Genre: SkaPunk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Prologue
2.The Spark (1902) (The beginning of Trotsky's political activism)
3.Party Song (1917) (Communists win control of Russia)
4.The Decembrists' Song (1921) (Remembering of The Decembrists' Revolt)
5.A Minor Point (1922) (Soviet Union founded)
6.On the Black Sea (1924) (Lenin's death)
7.Bad Party (1927) (Trotsky expelled from party)
8.Alma Ata (1928) (Stalin takes control)
9.The Purge (1936) (Stalin gains absolute power by killing any who oppose him)
10.Opportunity (1940) (Trotsky is exiled from the Soviet Union, then assassinated by a Soviet agent.)
11.Epilogue

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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



DVD 9
NTSC
4:3 & 16:9
DD 2.0
DD 5.1



..::TRACK-LIST::..

Recorded at The Arrow Rock Festival, Lichtenvoorde, 13th June 2004
Arrow Rock Festival.

1. Iron Butterfly Theme
2. Unconscious Power
3. Stone Believer
4. Flowers And Beads
5. Easy Rider (Let The Wind Pay The Way)
6. Butterfly Bleu
7. In-A-Gadda-Da-Vida

EXTRAS:
8. In The Time Of Our Lives
9. Whispers In The Wind
10. Interviews With Steve Howe (Yes)



..::OBSADA::..

Ron Bushy - drums
Lee Dorman - bass,
Larry Rust - Keyboards
Charlie Marinkovich - guitar



https://www.youtube.com/watch?v=FUhEWkJ2G60



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

..::INFO::..

---------------------------------------------------------------------
Simple Minds - New Gold Dream (81-82-83-84) - (5 CD)
(Deluxe Edition)
---------------------------------------------------------------------

Artist...............: Simple Minds
Album................: New Gold Dream
Genre................: New Wave, Rock
Source...............: CD
Year.................: 1982 - 2016 - Remastered
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63-68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music

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

---------------------------------------------------------------------
Tracklisting - CD 1 Original Album
---------------------------------------------------------------------

1. Simple Minds - Someone Somewhere In Summertime [04:37]
2. Simple Minds - Colours Fly And Catherine Wheel [03:49]
3. Simple Minds - Promised You A Miracle [04:27]
4. Simple Minds - Big Sleep [05:00]
5. Simple Minds - Somebody Up There Likes You [05:02]
6. Simple Minds - New Gold Dream (81-82-83-84) [05:38]
7. Simple Minds - Glittering Prize [04:33]
8. Simple Minds - Hunter And The Hunted [05:54]
9. Simple Minds - King Is White And In The Crowd [07:03]

Playing Time.........: 46:07
Total Size...........: 294,34 MB

---------------------------------------------------------------------
Tracklisting - CD 2 Extended Versions
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (Extended) [04:49]
2. Simple Minds - Seeing Out The Angel (Instrumental Remix)[06:35]
3. Simple Minds - Promised You A Miracle (US Remix) [06:04]
4. Simple Minds - Promised You A Miracle (US Dub) [05:26]
5. Simple Minds - Promised You A Miracle (US Special Extended Remix)[06:20]
6. Simple Minds - Glittering Prize (Club Mix 12'' Single) [04:58]
7. Simple Minds - Glittering Prize (Extended Theme) [04:57]
8. Simple Minds - Someone Somewhere In Summertime (Extended 12'' Single)[06:06]
9. Simple Minds - New Gold Dream (81-82-83-84) (German 12'' Mix)[06:53]
10. Simple Minds - King Is White And In The Crowd (Instrumental)[08:46]
11. Simple Minds - New Gold Dream (81-82-83-84) (German 12'' Remix With Drums / Outtake)[06:56]
12. Simple Minds - In Every Heaven (Outtake) [04:24]

Playing Time.........: 01:12:19
Total Size...........: 474,09 MB

---------------------------------------------------------------------
Tracklisting - CD 3 Edits And B-Sides
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (Edit) [04:02]
2. Simple Minds - Theme From Great Cities [05:51]
3. Simple Minds - Glittering Prize (Edit) [04:01]
4. Simple Minds - Glittering Prize (Theme) [04:06]
5. Simple Minds - Someone Somewhere In Summertime (Edit) [04:00]
6. Simple Minds - Soundtrack For Every Heaven [04:56]
7. Simple Minds - New Gold Dream (81-82-83-84) (7'' Mix) [04:46]

Playing Time.........: 31:45
Total Size...........: 217,23 MB

---------------------------------------------------------------------
Tracklisting - CD 4 Radio Sessions
---------------------------------------------------------------------

1. Simple Minds - Promised You A Miracle (David Jensen Session 1982)[04:23]
2. Simple Minds - In Trance As Mission (David Jensen Session 1982)[04:33]
3. Simple Minds - King Is White And In The Crowd (David Jensen Session 1982)[05:20]
4. Simple Minds - Promised You A Miracle (John Peel Session 1982)[04:40]
5. Simple Minds - Love Song (John Peel Session 1982) [05:48]
6. Simple Minds - Sons And Fascination (John Peel Session 1982)[06:43]
7. Simple Minds - King Is White And In The Crowd (John Peel Session 1982)[06:05]
8. Simple Minds - Someone Somewhere In Summertime (David Jensen Session 1982)[05:08]
9. Simple Minds - Glittering Prize (David Jensen Session 1982)[04:21]
10. Simple Minds - Hunter And The Hunted (David Jensen Session 1982)[05:48]

Playing Time.........: 52:54
Total Size...........: 363,47 MB

---------------------------------------------------------------------
Tracklisting - CD 5 Alternative Mixes, Roughs And Demos
---------------------------------------------------------------------

1. Simple Minds - Someone Somewhere In Summertime (Full Duration)[05:46]
2. Simple Minds - Colours Fly And Catherine Wheel (Full Duration Instrumental)[04:42]
3. Simple Minds - Promised You A Miracle (Remix For Album: Long)[04:55]
4. Simple Minds - Big Sleep (Instrumental) [05:14]
5. Simple Minds - In Every Heaven (Full Duration) [05:40]
6. Simple Minds - Somebody Up There Likes You (Full Duration Instrumental)[05:18]
7. Simple Minds - New Gold Dream (81-82-83-84) (Full Duration)[07:02]
8. Simple Minds - Hunter And The Hunted (Alternative Take) [05:16]
9. Simple Minds - King Is White And In The Crowd (Monitor Mix)[07:15]
10. Simple Minds - In Every Heaven (Early Version) [04:36]

Playing Time.........: 55:49
Total Size...........: 358,55 MB

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

..::INFO::..

---------------------------------------------------------------------
Sting - Duets
---------------------------------------------------------------------

Artist...............: Sting
Album................: Duets
Genre................: Pop, Rock
Source...............: CD
Year.................: 2021
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: A&M Records

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

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

1. Sting - Little Something (with Melody Gardot) [02:42]
2. Sting - It's Probably Me (with Eric Clapton) [05:02]
3. Sting - Stolen Car (with Mylene Farmer) [03:21]
4. Sting - Desert Rose (with Cheb Mami) [04:47]
5. Sting - Rise & Fall (with Craig David) [04:46]
6. Sting - Whenever I Say Your Name (with Mary J. Blige) [05:24]
7. Sting - Don't Make Me Wait (with Shaggy) [03:35]
8. Sting - Reste (with GIMS) [03:49]
9. Sting - We'll Be Together (with Annie Lennox) [03:52]
10. Sting - L'Amour C'est Comme Un Jour (with Charles Aznavour)[04:08]
11. Sting - My Funny Valentine (with Herbie Hancock) [04:53]
12. Sting - Fragile (with Julio Iglesias) [04:25]
13. Sting - Mama (with Gashi) [03:18]
14. Sting - September (with Zucchero) [03:27]
15. Sting - Practical Arrangement (with Jo Lawry) [04:35]
16. Sting - None Of Us Are Free (with Sam Moore) [04:03]
17. Sting - In The Wee Small Hours Of The Morning (with Chris Botti)[04:28]

Playing Time.........: 01:10:41
Total Size...........: 486,36 MB

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


..::OPIS::..

Świat Sisyphean jest równie dziwny i dysonansowy, co interesujący.
'Colors of Faith' nie zna granic, czyniąc 'swój black metal' falą permanentnego i przytłaczającego dysonansu, pozwalając korzeniom Old School spotykać się z różnymi wpływami.
Absolutnie genialny album!


Intense as well as atmospheric, Lithuanian black metal band Sisyphean have the perfectly tempered sound for this style of music. Their inherent dissonance magnifies their expression, elevating them over hordes of predictable bands, but their real mastery is in crafting thrilling and engaging songs that are both coherent and fulfilling. Everything seems in place and is there for a reason, and they even cover a wide range of emotions, making it a well-rounded affair. Each song bears its own individual sentiment, somehow complementing the songs preceding it, as if carrying on from where the last one ended and doing something more with it. Clearly, it’s a brilliantly written and arranged album, providing for intuitive undulations of extremity and emotions, not only captivating your attention throughout but also moving you. Virtually flawless, ‘Colours of Faith’ is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style.



Intense as well as atmospheric, Vilnius, Lithuania-based Dissonant Black Metal entity Sisyphean has the perfectly tempered sound for this style of music by crafting thrilling and engaging songs that are both coherent and fulfilling, which can be appreciated in all of its glory in their brand new opus, entitled Colours of Faith. Mixed by Satanic Audio, mastered by Resonance Sound Studio, and displaying a stylish cover artwork by Adam Burke of Nightjar Illustration, Colours of Faith is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style, showcasing all the talent of Dainius P. on vocals, Adomas V. and Kamil U. on the guitars, guest Andrius B. on bass, and Mantas D. on drums, appealing to admirers of the music by Svartidaudi, Deathspell Omega, Blut aus Nord, Mgla and Svartulven, just to name a few.

The dissonant, futuristic intro Before the Light warms up the listener for the pulverizing aria Scorched Timeless, with Adomas and Kamil showing absolutely zero mercy for their stringed axes accompanied by the rumbling bass by Andrius, all spiced up by the demonic vociferations by Dainius. Then investing in a more straightforward, no shenanigans Black Metal sonority, the band will darken your thoughts to the sound of Hearts of Mercury, again showcasing visceral riffs boosted by the infernal blast beats by Mantas, whereas strident guitar lines ignite the multi-layered Black Metal extravaganza titled Sovereigns of Livid Hope, offering our avid ears seven minutes of total chaos and darkness where Dainius roars in anger while Mantas adds a good dosage of intricacy to the overall result with his wicked drums.

After 25 seconds of ethereal sounds in the interlude The Descent the band comes crushing our senses with the beyond Stygian and heavy-as-hell Exiles, where the riffage by Adomas and Kamil will penetrate deep inside your psyche while Andrius and Mantas keep shaking the foundations of the earth with their respective bass and drums, resulting in a classic Black Metal tune with modern nuances. Their second to last explosion of evil sounds comes in the form of Open Wounds, a somber tune with Doom Metal hints that reminds me of some of the most recent creations by the almighty Watain; and lastly, it’s time for almost 10 minutes of insanity and chaos titled Conqueror, starting in a more than obscure manner before evolving into a sluggish, visceral feast of our beloved Black Metal where Mantas dictates the song’s hellish pace while Dainius keeps vociferating rabidly like there’s no tomorrow, with its second half becoming the soundtrack to a sinister horror movie until all fades into the unknown.

Gustavo Scuderi



..::TRACK-LIST::..

1. Before The Light 00:58
2. Scorched Timeless 06:43
3. Hearts of Mercury 05:18
4. Sovereigns of Livid Hope 07:02
5. The Descent 00:26
6. Exiles 05:49
7. Open Wounds 04:58
8. Conqueror 09:45



..::OBSADA::..

Dainius P. - Vocals
Adomas V. - Guitars
Kamil U. - Guitars
Mantas D. - Drums
Andrius B. - Session Bass




https://www.youtube.com/watch?v=6qIOGii7v6E



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

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


..::OPIS::..

Świat Sisyphean jest równie dziwny i dysonansowy, co interesujący.
'Colors of Faith' nie zna granic, czyniąc 'swój black metal' falą permanentnego i przytłaczającego dysonansu, pozwalając korzeniom Old School spotykać się z różnymi wpływami.
Absolutnie genialny album!


Intense as well as atmospheric, Lithuanian black metal band Sisyphean have the perfectly tempered sound for this style of music. Their inherent dissonance magnifies their expression, elevating them over hordes of predictable bands, but their real mastery is in crafting thrilling and engaging songs that are both coherent and fulfilling. Everything seems in place and is there for a reason, and they even cover a wide range of emotions, making it a well-rounded affair. Each song bears its own individual sentiment, somehow complementing the songs preceding it, as if carrying on from where the last one ended and doing something more with it. Clearly, it’s a brilliantly written and arranged album, providing for intuitive undulations of extremity and emotions, not only captivating your attention throughout but also moving you. Virtually flawless, ‘Colours of Faith’ is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style.



Intense as well as atmospheric, Vilnius, Lithuania-based Dissonant Black Metal entity Sisyphean has the perfectly tempered sound for this style of music by crafting thrilling and engaging songs that are both coherent and fulfilling, which can be appreciated in all of its glory in their brand new opus, entitled Colours of Faith. Mixed by Satanic Audio, mastered by Resonance Sound Studio, and displaying a stylish cover artwork by Adam Burke of Nightjar Illustration, Colours of Faith is a massively ambitious yet sincere album that ought to be regarded as a landmark album in the style, showcasing all the talent of Dainius P. on vocals, Adomas V. and Kamil U. on the guitars, guest Andrius B. on bass, and Mantas D. on drums, appealing to admirers of the music by Svartidaudi, Deathspell Omega, Blut aus Nord, Mgla and Svartulven, just to name a few.

The dissonant, futuristic intro Before the Light warms up the listener for the pulverizing aria Scorched Timeless, with Adomas and Kamil showing absolutely zero mercy for their stringed axes accompanied by the rumbling bass by Andrius, all spiced up by the demonic vociferations by Dainius. Then investing in a more straightforward, no shenanigans Black Metal sonority, the band will darken your thoughts to the sound of Hearts of Mercury, again showcasing visceral riffs boosted by the infernal blast beats by Mantas, whereas strident guitar lines ignite the multi-layered Black Metal extravaganza titled Sovereigns of Livid Hope, offering our avid ears seven minutes of total chaos and darkness where Dainius roars in anger while Mantas adds a good dosage of intricacy to the overall result with his wicked drums.

After 25 seconds of ethereal sounds in the interlude The Descent the band comes crushing our senses with the beyond Stygian and heavy-as-hell Exiles, where the riffage by Adomas and Kamil will penetrate deep inside your psyche while Andrius and Mantas keep shaking the foundations of the earth with their respective bass and drums, resulting in a classic Black Metal tune with modern nuances. Their second to last explosion of evil sounds comes in the form of Open Wounds, a somber tune with Doom Metal hints that reminds me of some of the most recent creations by the almighty Watain; and lastly, it’s time for almost 10 minutes of insanity and chaos titled Conqueror, starting in a more than obscure manner before evolving into a sluggish, visceral feast of our beloved Black Metal where Mantas dictates the song’s hellish pace while Dainius keeps vociferating rabidly like there’s no tomorrow, with its second half becoming the soundtrack to a sinister horror movie until all fades into the unknown.

Gustavo Scuderi



..::TRACK-LIST::..

1. Before The Light 00:58
2. Scorched Timeless 06:43
3. Hearts of Mercury 05:18
4. Sovereigns of Livid Hope 07:02
5. The Descent 00:26
6. Exiles 05:49
7. Open Wounds 04:58
8. Conqueror 09:45



..::OBSADA::..

Dainius P. - Vocals
Adomas V. - Guitars
Kamil U. - Guitars
Mantas D. - Drums
Andrius B. - Session Bass




https://www.youtube.com/watch?v=6qIOGii7v6E



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

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


..::TRACK-LIST::..

1. Please Don't
2. Walk On
3. Ain't Fit to Live Here
4. Twice
5. Cold Love
6. Uncomfortably Numb
7. Bird of Paradise
8. Breathe In Breathe Out
9. Hisingen Blues
10. Goliath
11. From a Hole in the Wall
12. The Siren



https://www.youtube.com/watch?v=giP4xpd2JFg



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

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


..::TRACK-LIST::..

1. (A)
2. De tes yeux bleus perlés
3. Des torrents de coups
4. Il a tant rêvé d’elles
5. Nonchalantes de beauté
6. Le cœur noir charbon
7. Comme des amants en reflet
8. Ces belles de rêve aux verres embués




https://www.youtube.com/watch?v=UG0yFi0mz3o



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

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


..::OPIS::..

Atrakcyjnie wydana, limitowana kompilacja rzadkich nagrań z wczesnych singli oraz taśm demo, zarejestrowanych w latach 1967-1973. Ten blisko 80-minutowy CD zawiera wszystkie znane/dostępne nagrania zarejestrowanie przez najwcześniejszy Genesis (Gabriel/Banks/Rutherford/Phillips/Silver) do czasu debiutanckiego LP "From Genesis To Revelation", m.in. doskonały, niepublikowany "Build Me A Mountain", który byłby chyba najlepszym kawałkiem na debiucie! Poza tym zamieszczono oryginalne, singlowe, winylowe miksy takich nagrań, jak "Twilight Alehouse", "Happy The Man" oraz skróconej wersji (z alternatywnym zakończeniem) "Watcher Of The Skies". Poza tym zmieściły się także dwie wersje demo z perkusistą Johnem Mayhew, z sierpnia 1969: "Going Out To Get You" oraz "Dusk".

Wszystkie nagrania były profesjonalnie zarejestrowane i brzmią po prostu doskonale! Proszę zwrócić też uwagę na bardzo atrakcyjną, fantazyjną okładkę autorstwa Paula Whiteheada (twórcy okładek do "Trespass", "Nursery Cryme" i "Foxtrot") + kilka rzadkich zdjęć, w tym jedno przedstawiające Genesis w towarzystwie włoskiego tria Le Orme (w 1972 roku)!!!



..::TRACK-LIST::..

1. Twilight Alchouse [UK single B-side, 1973] 7:40
2. Watcher of the Skies [German single version, 1972] 3:41
3. Happy the Man [UK single, 1972]
4. Going Out to Get You [August 1969 demo]
5. Dusk [August 1969 demo]
6. Build Me a Mountain 4:09
7. Image Blown Out 2:11
8. In the Wilderness [without strings] 2:57
9. One Day [without strings] 3:06
10. A Winter's Tale [UK single A-side, 1968]
11. One-Eyed Hound [UK single B-side, 1968]
12. That's Me [UK single B-side, 1968]
13. Where The Sour Turns To Sweet 3:12
14. In the Beginning 3:29
15. The Magic of Time 1:58
16. Hey! 2:26
17. Hidden in the World of Dawn 3:08
18. Sea Bee 3:02
19. The Mystery of the Flannan Isle Lighthouse 2:32
20. Hair on the Arms and Legs 2:40
21. She is Beautiful 3:17
22. Try a Little Sadness 3:17
23. Patricia (instrumental) 3:02



..::OBSADA::..

Peter Gabriel - lead vocals, tambourine, flute
Tony Banks - hammond organ, piano, acoustic guitars, vocals
Mike Rutherford - bass guitar, acoustic guitars, vocals
Anthony Phillips - acoustic & electric guitars, vocals (tracks 4-23)
Chris Stewart - drums (tracks 12, 15, 22)
Steve Hackett - acoustic & electric guitars (tracks 1-3)
John Silver - drums (tracks 6-11, 13, 14, 16)
Phil Collins - drums, percussion (tracks 1-3)



https://www.youtube.com/watch?v=Ii0eCtVl-is



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

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


..::OPIS::..

Atrakcyjnie wydana, limitowana kompilacja rzadkich nagrań z wczesnych singli oraz taśm demo, zarejestrowanych w latach 1967-1973. Ten blisko 80-minutowy CD zawiera wszystkie znane/dostępne nagrania zarejestrowanie przez najwcześniejszy Genesis (Gabriel/Banks/Rutherford/Phillips/Silver) do czasu debiutanckiego LP "From Genesis To Revelation", m.in. doskonały, niepublikowany "Build Me A Mountain", który byłby chyba najlepszym kawałkiem na debiucie! Poza tym zamieszczono oryginalne, singlowe, winylowe miksy takich nagrań, jak "Twilight Alehouse", "Happy The Man" oraz skróconej wersji (z alternatywnym zakończeniem) "Watcher Of The Skies". Poza tym zmieściły się także dwie wersje demo z perkusistą Johnem Mayhew, z sierpnia 1969: "Going Out To Get You" oraz "Dusk".

Wszystkie nagrania były profesjonalnie zarejestrowane i brzmią po prostu doskonale! Proszę zwrócić też uwagę na bardzo atrakcyjną, fantazyjną okładkę autorstwa Paula Whiteheada (twórcy okładek do "Trespass", "Nursery Cryme" i "Foxtrot") + kilka rzadkich zdjęć, w tym jedno przedstawiające Genesis w towarzystwie włoskiego tria Le Orme (w 1972 roku)!!!



..::TRACK-LIST::..

1. Twilight Alchouse [UK single B-side, 1973] 7:40
2. Watcher of the Skies [German single version, 1972] 3:41
3. Happy the Man [UK single, 1972]
4. Going Out to Get You [August 1969 demo]
5. Dusk [August 1969 demo]
6. Build Me a Mountain 4:09
7. Image Blown Out 2:11
8. In the Wilderness [without strings] 2:57
9. One Day [without strings] 3:06
10. A Winter's Tale [UK single A-side, 1968]
11. One-Eyed Hound [UK single B-side, 1968]
12. That's Me [UK single B-side, 1968]
13. Where The Sour Turns To Sweet 3:12
14. In the Beginning 3:29
15. The Magic of Time 1:58
16. Hey! 2:26
17. Hidden in the World of Dawn 3:08
18. Sea Bee 3:02
19. The Mystery of the Flannan Isle Lighthouse 2:32
20. Hair on the Arms and Legs 2:40
21. She is Beautiful 3:17
22. Try a Little Sadness 3:17
23. Patricia (instrumental) 3:02



..::OBSADA::..

Peter Gabriel - lead vocals, tambourine, flute
Tony Banks - hammond organ, piano, acoustic guitars, vocals
Mike Rutherford - bass guitar, acoustic guitars, vocals
Anthony Phillips - acoustic & electric guitars, vocals (tracks 4-23)
Chris Stewart - drums (tracks 12, 15, 22)
Steve Hackett - acoustic & electric guitars (tracks 1-3)
John Silver - drums (tracks 6-11, 13, 14, 16)
Phil Collins - drums, percussion (tracks 1-3)



https://www.youtube.com/watch?v=Ii0eCtVl-is



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

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


..::OPIS::..

4CD REMASTERED CLAMSHELL BOX ANTHOLOGY COMPRISING ALL OF SKIN ALLEY’S RECORDINGS FOR CBS & TRANSATLANTIC RECORDS BETWEEN 1969-1973.

INCLUDES ALL THE TRACKS FROM THE ALBUMS ‘SKIN ALLEY’, ‘TO PAGHAM & BEYOND’, ‘TWO QUID DEAL’ & ‘SKINTIGHT’ ALONG WITH ALL TRACKS FROM ‘STOP VERUSHKA!’, THE BAND’S “LOST” 1970 SOUNDTRACK ALBUM & RARE SINGLES.

ALL TRACKS REMASTERED FROM THE ORIGINAL MASTER TAPES.

INCLUDES AN ILLUSTRATED BOOKLET WITH NEW ESSAY.

Formed in 1968, Skin Alley were part of the infamous Clearwater stable that included fellow acts such as Hawkwind, High Tide, Trees and Cochise. The band’s infectious fusion of jazz and rock was suited to the time and the band became a regular attraction on the underground festival and concert circuit.

Skin Alley recorded their self-titled debut album for CBS Records in November 1969 with former Pretty Things guitarist Dick Taylor producing. The band’s second album, ‘To Pagham and Beyond’ was recorded in 1970, along with a shelved soundtrack album for an unreleased film about the German model Verushka.

In June 1971 Skin Alley performed at the legendary Glastonbury Fayre and the following year they contributed a track to the fund-raising triple album of the same name which also featured The Grateful Dead, David Bowie, Marc Bolan, Gong and Hawkwind among others. Signing to Transatlantic Records in 1972 they released the album ‘Two Quid Deal’ later that year. Their final album, ‘Skintight’, was issued in 1973.

This 4CD set has been newly remastered and is a fine tribute to one of Britain’s great unsung underground acts of the early 1970s includes all of Skin Alley’s albums and rare single tracks, along with the shelved Stop Verushka! soundtrack and the version of ‘Sun Music’ from Glastonbury Fayre.



A cop (and an ugly one at that) pulling his tongue right in your face under their bloodied name is the opening image that Skin Alley chose as an approach to music fans. Despite such a poor decision, the album was well received by the press and the fans alike, and rightfully so, because this unusual quartet (line-up wise) developed a distinctive mix of jazz and blues into their rock music, fronted by Bob James' wind instruments and Juskiewicz's (bless you ;-) organ and piano and usually offering "male" lyrics.
Opening on one of their most popular track Living In Sin (it was part of the sampler Fill Your Head With Rock), the group sets the tone for the whole album, as their jazz-inflected rock (it can be included in the early 70's UK proto prog) that enthrals the listener directly as the communicative enthusiasm of the band is almost overwhelming. Indeed Bob James alternates between the flute and guitar, while bassist Crimble sounds like Cressida's Angus Cullen on vocals. The same Cressida name is also reminded on Tell Me (mellotrons), this time more to do with the songwriting (I'm sure there is an unintentional borrowing from whomever recorded their track second, which is probably Cressida). The Mother Help Your Child track is one of the album's highlights, as Crimble's voice takes on dramatic Out Of Focus tones, after a menacing church-organ sound and an isolated flute opened it. The lengthier Marsha is an up-tempoed organ-driven groove that allows for a few wild sax solos, alternated by organ lines, reminiscent of the second-era Traffic.

On the flipside, past the short pastoral and medieval (piccolo flute and harpsichord) Country Aire, with the other mammoth track, the dark 8-mins All Alone, SA gets to serious business with the slow sinister organ that will drive the entire track, sharing the spotlight with the sax. Night time is one of my fave from the album, loaded with flute and tron layers, and later on evolving rolling jazzy piano ditty. Juskiewicz gives us another pointless taste of his harpsichord before the group closes the album with a boogie-ing Highway, maybe the album's weaker moment.

Included as bonus tracks are the two songs from the non-album single (engineered by Martin Birch, the first being a fairly different version of Tell Me with some wild cello lines replacing the melotron, the track resembling less the Cressida track, under this version, which I find better. Better Be Blind has a deceiving vocal line coupled with an annoying whistle, but outside this, it remains a worthy SA track, but sounding fairly different from the album per se.

A bit of a lost classic proto-prog album, Skin Alley's debut has recently received a re-issue through Eclectic Discs, with an excellent booklet and extensive liner notes, the object narrowingly missing the perfect mark, because of the band's name being black instead of the orange-blood colour scheme on the front cover, the rear artwork taken from a much weather-beaten vinyl. Besides this nitpicking, Skin Alley's debut comes awfully close to a masterpiece, but no cigar. Essential, certainly!!

Sean Trane


John Peel apparently discovered these guys playing live somewhere and invited them to do a live gig on his show. I really like their sound with the vocals, organ and flute all being for the most part warm and nostalgic for me. A sort of melancholy too bringing CAMEL to mind at times. Two of the guys play mellotron although it's only featured on two tracks. A four piece with sax and harpsichord also in play. There are five really good tracks on here and the only two I'm not into amount to less than 3 minutes so a very solid 4 star album in my books.
"Living In Sin" is an excellent opener and the lyrics from a bye gone day talking about "sin" which is usually boasted about these days and a non-issue. Pulsating bass with a beat and flute as vocals and organ join in. A CAMEL vibe here and the guitar arrives before 1 1/2 minutes. It comes to the fore around 2 minutes as the vocals step aside. Sax replaces the guitar before 3 1/2 minutes some nice prominent bass too. Flute and that earlier sound with vocals returning late.

"Tell Me Why" is my favourite. It's melancholic with picked guitar, mellotron and sad vocals to start. The chorus is meaningful and moving with 60's sounding harmonies. Pulsating organ before 3 minutes during an instrumental section. Just a killer tune. "Mother Please Help Your Child" has meaningful lyrics and after a dramatic intro it settles right down with flute as reserved vocals join in and solemn organ. It turns fuller 1 1/2 minutes in with passionate vocals. The chorus is downright sad then themes are repeated. Some powerful lyrics here.

"Marsha" obviously a Brady Bunch reference(kidding) is an excellent almost 7 1/2 minute instrumental. Love this organ led tune as bass and drums standout as well early on. Sax before 3 minutes as the organ steps aside but it's back before 5 minutes replacing the sax. The sax is back a minute later but the organ continues this time pulsating powerfully before settling back. "Country Aire" has this fairy sounding flute with harpsichord. So not my thing(haha). It's better a minute in though when the drums, bass and more arrive. "All Alone" has relaxed organ to start as bass and drums join in, sax too then reserved vocals. Very laid back then it's fuller after 2 minutes but it settles back quickly. A sax solo follows then organ as it stays laid back. Vocals are back before 6 minutes then it turns fuller with sax after 7 minutes but again it's brief. "Night Time" opens with flute, drums and bass then it kicks in quickly with mellotron too. Nice. Vocals just before a minute. Back to that opening theme and I just love the sound of this one. Some rare piano 2 1/2 minutes in.

"Concerto Grosso(Take Heed)" is but 26 seconds of harpsichord. "(Going Down The)Highway" has a catchy rhythm and is blues flavoured with pulsating organ and vocals. Sax 1 1/2 minutes in as the vocals step aside then the organ takes over. Vocals return but this isn't one of my favs.

Kind of a weird cover not representing the music in any way. I guess they thought it was funny. Anyway the music here is quite amazing for the most part, just a big fan of their sound and easily 4 stars for this one.

Mellotron Storm



..::TRACK-LIST::..

CD 1 - Skin Alley (1969):
1. Living in Sin
2. Tell Me
3. Mother, Please Help Your Child
4. Marsha
5. Country Aire
6. All Alone
7. Night Time
8. Concerto Grosso (Take Heed)
9. (Going Down the) Highway

Bonus Tracks:
10. Better Be Blind (B-side of single)
11. Tell Me (single version)
12. Shower Music (from Stop Verushka)
13. Sofa, Taxi and Sand Themes (from Stop Verushka)
14. Cemetery Scene (from Stop Verushka)
15. First Drug Scene (from Stop Verushka)



..::OBSADA::..

Organ, Piano, Harpsichord, Mellotron [Melotron], Vocals - Krzysztof-Henryk Juskiewicz
Bass, Mellotron [Melotron], Vocals - Thomas Crimble
Drums, Congas, Timpani - Alvin Pope
Guitar, Alto Saxophone, Flute, Vocals - Bob James




https://www.youtube.com/watch?v=tCpLseZObp8



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

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


..::OPIS::..

4CD REMASTERED CLAMSHELL BOX ANTHOLOGY COMPRISING ALL OF SKIN ALLEY’S RECORDINGS FOR CBS & TRANSATLANTIC RECORDS BETWEEN 1969-1973.

INCLUDES ALL THE TRACKS FROM THE ALBUMS ‘SKIN ALLEY’, ‘TO PAGHAM & BEYOND’, ‘TWO QUID DEAL’ & ‘SKINTIGHT’ ALONG WITH ALL TRACKS FROM ‘STOP VERUSHKA!’, THE BAND’S “LOST” 1970 SOUNDTRACK ALBUM & RARE SINGLES.

ALL TRACKS REMASTERED FROM THE ORIGINAL MASTER TAPES.

INCLUDES AN ILLUSTRATED BOOKLET WITH NEW ESSAY.

Formed in 1968, Skin Alley were part of the infamous Clearwater stable that included fellow acts such as Hawkwind, High Tide, Trees and Cochise. The band’s infectious fusion of jazz and rock was suited to the time and the band became a regular attraction on the underground festival and concert circuit.

Skin Alley recorded their self-titled debut album for CBS Records in November 1969 with former Pretty Things guitarist Dick Taylor producing. The band’s second album, ‘To Pagham and Beyond’ was recorded in 1970, along with a shelved soundtrack album for an unreleased film about the German model Verushka.

In June 1971 Skin Alley performed at the legendary Glastonbury Fayre and the following year they contributed a track to the fund-raising triple album of the same name which also featured The Grateful Dead, David Bowie, Marc Bolan, Gong and Hawkwind among others. Signing to Transatlantic Records in 1972 they released the album ‘Two Quid Deal’ later that year. Their final album, ‘Skintight’, was issued in 1973.

This 4CD set has been newly remastered and is a fine tribute to one of Britain’s great unsung underground acts of the early 1970s includes all of Skin Alley’s albums and rare single tracks, along with the shelved Stop Verushka! soundtrack and the version of ‘Sun Music’ from Glastonbury Fayre.



A cop (and an ugly one at that) pulling his tongue right in your face under their bloodied name is the opening image that Skin Alley chose as an approach to music fans. Despite such a poor decision, the album was well received by the press and the fans alike, and rightfully so, because this unusual quartet (line-up wise) developed a distinctive mix of jazz and blues into their rock music, fronted by Bob James' wind instruments and Juskiewicz's (bless you ;-) organ and piano and usually offering "male" lyrics.
Opening on one of their most popular track Living In Sin (it was part of the sampler Fill Your Head With Rock), the group sets the tone for the whole album, as their jazz-inflected rock (it can be included in the early 70's UK proto prog) that enthrals the listener directly as the communicative enthusiasm of the band is almost overwhelming. Indeed Bob James alternates between the flute and guitar, while bassist Crimble sounds like Cressida's Angus Cullen on vocals. The same Cressida name is also reminded on Tell Me (mellotrons), this time more to do with the songwriting (I'm sure there is an unintentional borrowing from whomever recorded their track second, which is probably Cressida). The Mother Help Your Child track is one of the album's highlights, as Crimble's voice takes on dramatic Out Of Focus tones, after a menacing church-organ sound and an isolated flute opened it. The lengthier Marsha is an up-tempoed organ-driven groove that allows for a few wild sax solos, alternated by organ lines, reminiscent of the second-era Traffic.

On the flipside, past the short pastoral and medieval (piccolo flute and harpsichord) Country Aire, with the other mammoth track, the dark 8-mins All Alone, SA gets to serious business with the slow sinister organ that will drive the entire track, sharing the spotlight with the sax. Night time is one of my fave from the album, loaded with flute and tron layers, and later on evolving rolling jazzy piano ditty. Juskiewicz gives us another pointless taste of his harpsichord before the group closes the album with a boogie-ing Highway, maybe the album's weaker moment.

Included as bonus tracks are the two songs from the non-album single (engineered by Martin Birch, the first being a fairly different version of Tell Me with some wild cello lines replacing the melotron, the track resembling less the Cressida track, under this version, which I find better. Better Be Blind has a deceiving vocal line coupled with an annoying whistle, but outside this, it remains a worthy SA track, but sounding fairly different from the album per se.

A bit of a lost classic proto-prog album, Skin Alley's debut has recently received a re-issue through Eclectic Discs, with an excellent booklet and extensive liner notes, the object narrowingly missing the perfect mark, because of the band's name being black instead of the orange-blood colour scheme on the front cover, the rear artwork taken from a much weather-beaten vinyl. Besides this nitpicking, Skin Alley's debut comes awfully close to a masterpiece, but no cigar. Essential, certainly!!

Sean Trane


John Peel apparently discovered these guys playing live somewhere and invited them to do a live gig on his show. I really like their sound with the vocals, organ and flute all being for the most part warm and nostalgic for me. A sort of melancholy too bringing CAMEL to mind at times. Two of the guys play mellotron although it's only featured on two tracks. A four piece with sax and harpsichord also in play. There are five really good tracks on here and the only two I'm not into amount to less than 3 minutes so a very solid 4 star album in my books.
"Living In Sin" is an excellent opener and the lyrics from a bye gone day talking about "sin" which is usually boasted about these days and a non-issue. Pulsating bass with a beat and flute as vocals and organ join in. A CAMEL vibe here and the guitar arrives before 1 1/2 minutes. It comes to the fore around 2 minutes as the vocals step aside. Sax replaces the guitar before 3 1/2 minutes some nice prominent bass too. Flute and that earlier sound with vocals returning late.

"Tell Me Why" is my favourite. It's melancholic with picked guitar, mellotron and sad vocals to start. The chorus is meaningful and moving with 60's sounding harmonies. Pulsating organ before 3 minutes during an instrumental section. Just a killer tune. "Mother Please Help Your Child" has meaningful lyrics and after a dramatic intro it settles right down with flute as reserved vocals join in and solemn organ. It turns fuller 1 1/2 minutes in with passionate vocals. The chorus is downright sad then themes are repeated. Some powerful lyrics here.

"Marsha" obviously a Brady Bunch reference(kidding) is an excellent almost 7 1/2 minute instrumental. Love this organ led tune as bass and drums standout as well early on. Sax before 3 minutes as the organ steps aside but it's back before 5 minutes replacing the sax. The sax is back a minute later but the organ continues this time pulsating powerfully before settling back. "Country Aire" has this fairy sounding flute with harpsichord. So not my thing(haha). It's better a minute in though when the drums, bass and more arrive. "All Alone" has relaxed organ to start as bass and drums join in, sax too then reserved vocals. Very laid back then it's fuller after 2 minutes but it settles back quickly. A sax solo follows then organ as it stays laid back. Vocals are back before 6 minutes then it turns fuller with sax after 7 minutes but again it's brief. "Night Time" opens with flute, drums and bass then it kicks in quickly with mellotron too. Nice. Vocals just before a minute. Back to that opening theme and I just love the sound of this one. Some rare piano 2 1/2 minutes in.

"Concerto Grosso(Take Heed)" is but 26 seconds of harpsichord. "(Going Down The)Highway" has a catchy rhythm and is blues flavoured with pulsating organ and vocals. Sax 1 1/2 minutes in as the vocals step aside then the organ takes over. Vocals return but this isn't one of my favs.

Kind of a weird cover not representing the music in any way. I guess they thought it was funny. Anyway the music here is quite amazing for the most part, just a big fan of their sound and easily 4 stars for this one.

Mellotron Storm



..::TRACK-LIST::..

CD 1 - Skin Alley (1969):
1. Living in Sin
2. Tell Me
3. Mother, Please Help Your Child
4. Marsha
5. Country Aire
6. All Alone
7. Night Time
8. Concerto Grosso (Take Heed)
9. (Going Down the) Highway

Bonus Tracks:
10. Better Be Blind (B-side of single)
11. Tell Me (single version)
12. Shower Music (from Stop Verushka)
13. Sofa, Taxi and Sand Themes (from Stop Verushka)
14. Cemetery Scene (from Stop Verushka)
15. First Drug Scene (from Stop Verushka)



..::OBSADA::..

Organ, Piano, Harpsichord, Mellotron [Melotron], Vocals - Krzysztof-Henryk Juskiewicz
Bass, Mellotron [Melotron], Vocals - Thomas Crimble
Drums, Congas, Timpani - Alvin Pope
Guitar, Alto Saxophone, Flute, Vocals - Bob James




https://www.youtube.com/watch?v=tCpLseZObp8



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