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


..::OPIS::..

Trzecia płyta ekipy z Oregonu grającej miażdżący techniczny death metal w stylu INVERACITY, HOUR OF PENANCE, DECREPIT BIRTH, starego SUFFOCATION, ORIGIN.



Dominion Of Misery is the impending new long-player from Oregon-based technical death metal outfit, OMNIHILITY. The follow-up to 2014’s critically lauded Deathscapes Of The Subconscious, Dominion Of Misery was again captured at Castle Ultimate with famed producer Zack Ohren (Animosity, Suffocation, All Shall Perish) who continues to lead the charge by pushing the recorded boundaries in extreme music. Dominion Of Misery includes the maniacal artwork of Mark Cooper (Rings Of Saturn, Deeds Of Flesh, Master) bringing the entire package alive with his twisted Lovecraft-gone-Giger inspired visuals.




Continuing their onslaught of brutality, Oregon-based brutal/technical death metallers Omnihility have grown rather accomplished and competent to turn their mechanically-infused assault into a whirlwind of technical and brutal death. Being the first recorded output of the band for new members bassist Isamu Sato and vocalist Adam Toepfer, the groups’ third full-length album is released February 26, 2016 on Unique Leader Records.

Much like their previous works, this is mainly a finely-acute mixture of swirling, dive-bombing technically-challenging riffing that hurtles forth at rather frantic tempos that adds an overt brutality as the band whips up a frenzy of complex arrangements alongside the mechanical patterns with the occasional dip into a more mid-tempo chug-based pattern. This serves as a nice buffer to off-set the more brutal moments here with the tightly-wound, frenzied rhythms here containing a rather charging, chaotic focus with this series of riffing coming together incredibly well to deliver a competent, pummeling release that manages to whip through enough dizzying riffing to placate the tech-crowd while featuring the kind of frenetic rhythms that give the album a solid, brutal tone. Though the technical rhythms do end up winning out in the end, there’s plenty of tight, frantic brutality on display to really give this one plenty of appeal to that section as well with the tightly-wound rhythms offering up a fine amount of brutal rhythms. There’s only a slight issue with this one, as the album sounds way too mechanical and triggered at times to really breathe like the material really calls for here as the guitars really offer no depth or variety in their tone and stay on the same format for the album’s duration while the drumming is rather one-note choppy blasts without much deviation as well. Still, this one doesn’t really do a whole lot to hamper this one as there’s plenty to readily enjoy here.

With only a minor troubling issue that holds this one back and manages to get out plenty of enjoyably complex and challenging brutality which allows this one to readily appeal to fans of both the technical and brutal realms who can also manage to overlook the minor production issue that plagues this one which isn’t a part of others.

slayrrr666



..::TRACK-LIST::..

1. Intro: Morte Aeterna 03:02
2. Psychotic Annihilation 04:01
3. Immaculate Deception 04:30
4. Dementia Praecox 04:10
5. Dead Eden 04:47
6. Within Shadows 03:15
7. Reflections in Blood 05:09
8. Parasitic Existence 04:55
9. Necrotic, Consumption, Obsession 04:28
10. Dominion of Misery 03:27



..::OBSADA::..

Dan Rabago - Guitars
Steve Crum - Drums
Isamu Sato - Bass
John Kurzejeski - Vocals



https://www.youtube.com/watch?v=28bTBqy6SHU


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

...( Info )...

Artist: A-ha
Title: Hunting High And Low
Year: 1985
Genre: Electronic, Pop
Style: Synth-pop
Label: Warner Records Inc.
Duration: 00:37:32
Format/Codec: MP3 + Artwork
Audio Bitrate: 320 Kbps


...( TrackList )...

01. Take On Me (00:03:50)
02. Train Of Thought (00:04:16)
03. Hunting High And Low (00:03:47)
04. The Blue Sky (00:02:38)
05. Living A Boy's Adventure Tale (00:05:04)
06. The Sun Always Shines On T.V. (00:05:09)
07. And You Tell Me (00:01:55)
08. Love Is Reason (00:03:09)
09. I Dream Myself Alive (00:03:11)
10. Here I Stand And Face The Rain (00:04:33)

..::INFO::..

Finntroll to fiński zespół folkmetalowy, założony w Helsinkach w 1997. Zespół wykonuje skoczną, dynamiczną muzykę, łączącą elementy black metalu i fińskiej polki zwanej humppa. Mimo iż jest to fiński zespół, to teksty utworów są w języku szwedzkim, ponieważ ten język brzmi "cholernie trollowato" według Jamsena, założyciela zespołu, którego ojczystym językiem jest właśnie szwedzki. Finntroll został założony w 1997 roku przez Teemu Raimoranta (Somnium), gitarzystę zespołu Impaled Nazarene oraz Jana Jamsena (Katla). Ich pierwsze demo, Rivfader, zostało nagrane rok później, w 1998 r. Po nagraniu dema do zespołu dołączyli Samu Ruotsalainen (z Barathrum i Rapture), Samuli Ponsimaa, Henri Sorvali (z Moonsorrow) i Sami Uusitalo. Podpisany kontrakt z wytwórnią Spikefarm zaowocowało pierwszą płytą Midnattens Widunder wydaną w 1999 roku. Wstawka zawiera szósty album grupy Finntroll. Okładka płyty została zaprojektowana, po raz kolejny, przez gitarzystę zespołu – Skrymera.

Title: Nifelvind

Artist: Finntroll

Country: Finlandia

Year: 2010

Genre: Folk Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Blodmarsch
2.Solsagan
3.Den frusna munnen
4.Ett norrskensdad
5.I traens sangl
6.Tiden utan tid
7.Galgasang
8.Mot skuggornas varld
9.Under bergets rot
10.Fornfamnad
11.Drap

..::INFO::..

Broilers to niezwykle popularny niemiecki zespół punkrockowy, który powstał w 1992 roku w Dusseldorfie z inicjatywy wokalisty i gitarzysty Sammy'ego Amary oraz perkusisty Andreasa „Andiego” Brugge. Inspiracją dla nich był album z coverami „Learning English” grupy Die Toten Hosen. Brzmienie grupy ewoluowało na przestrzeni lat - ich wczesna twórczość była mocno zakorzeniona w scenie Oi! oraz tradycyjnym, antyrasistowskim ruchu skinheadów i rude boys. Z czasem muzycy zaczęli płynnie łączyć klasyczny street punk z elementami ska, rockabilly oraz tradycyjnego, melodyjnego rocka. Charakteryzują się zaangażowanymi społecznie, wyrazistymi tekstami (często o podłożu antyfaszystowskim) oraz niezwykle żywiołowymi występami na żywo. Wstawka zawiera drugi album studyjny zespołu.

Artist: Broilers

Title: Verlierer Sehen Anders Aus

Country: Niemcy

Year: 2001

Genre: Street Punk, Oi

Format / Codec: MP3

Audio bitrate: 128 kbps

..::TRACK-LIST::..

A1.Kuss Meinen Ring
A2.Laster Und Sunde
A3.69 77 88
A4.Du Und Dein Elend
A5.Verlierer Sehen Anders Aus
A6.Dumm Und Glucklich
A7.Deine Stadt
A8.Konig Des Viertels
B1.Donner Und Blitzen
B2.Gestern Erst
B3.Nicht Unsere Wege
B4.So Ist Halt Die Welt
B5.Sag Die Wahrheit
B6.Das Letzte
B7.Verlierer Sehen Anders Aus II

..::INFO::..

---------------------------------------------------------------------
Van Morrison - Beautiful Vision
---------------------------------------------------------------------

Artist...............: Van Morrison
Album................: Beautiful Vision
Genre................: Rock
Source...............: CD
Year.................: 1982
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 55 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

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

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

1. Van Morrison - Celtic Ray [04:12]
2. Van Morrison - Northern Muse (Solid Ground) [04:05]
3. Van Morrison - Dweller on the Threshold [04:50]
4. Van Morrison - Beautiful Vision [04:10]
5. Van Morrison - She Gives Me Religion [04:34]
6. Van Morrison - Cleaning Windows [04:44]
7. Van Morrison - Vanlose Stairway [04:13]
8. Van Morrison - Aryan Mist [04:00]
9. Van Morrison - Across the Bridge Where Angels Dwell [04:31]
10. Van Morrison - Scandinavia [06:38]

Playing Time.........: 46:01
Total Size...........: 252,41 MB

..::DODATKOWE-INFO::..

Beautiful Vision is the thirteenth studio album by Northern Irish singer-songwriter Van Morrison, recorded May–summer 1981 and released 16 February 1982.

Backing Vocals – Annie Stocking (tracks: 1 to 9), Bianca Thornton (tracks: 1 to 9), Pauline Lozano (tracks: 1 to 9)
Bass – David Hayes (tracks: 1 to 5, 7, 9, 10), Rob Wasserman (tracks: 6, 8)
Drums – Gary Malabar (tracks: 6, 8), Tom Dollinger (tracks: 1 to 5, 7, 9)
Guitar – Chris Hayes (tracks: 1 to 5, 7, 9), Chris Michie (tracks: 1 to 9), Mark Knopfler (tracks: 6, 8)
Lead Vocals [Uncredited] – Van Morrison (tracks: 1 to 9)
Organ – John Allair (tracks: 1 to 9)
Percussion – Michele Segan (tracks: 6, 8)
Saxophone [Saxes], Flute – Pee Wee Ellis (tracks: 1 to 5, 7, 9)
Synthesizer – Mark Isham (tracks: 1 to 5, 7, 9, 10)
Trumpet – Mark Isham (tracks: 1 to 5, 7, 9)

...( Info )...

Artist: The Beatles
Title: I Saw Her Standing There
Year: 2013
Genre: Rock
Style: Beat, Rock & Roll
Label: Rock Melon Music LTD
Country: Russia
Duration: 02:05:41
Format/Codec: MP3 + Artwork
Audio Bitrate: 320 Kbps


...( TrackList )...

CD 01 I Saw Her Standing There... (CD 1): (01:13:51)

01. My Bonnie (00:02:41)
02. Skinnie Minnie (00:03:07)
03. Whole Lotta Shakin' Goin' On (00:02:10)
04. I know Baby (00:02:57)
05. You are my Sunshine (00:02:27)
06. Ready Teddy (00:02:01)
07. The Saints (00:03:19)
08. Hallelujah, I Love Her So (00:02:09)
09. Let's Twist Again (00:02:40)
10. Sweet Georgia Brown (00:02:28)
11. Swanee River (00:02:54)
12. Top Ten Twist (00:02:53)
13. My Bonnie (German Intro) (00:02:42)
14. Ich lieb' Dich So (00:02:45)
15. Der Kiss-Me Song (00:02:33)
16. Madison Kid (00:02:47)
17. Let's Dance (00:02:34)
18. Ya Ya Part 1 & 2 (00:05:11)
19. Sweet Georgia Brown (00:02:05)
20. Cry for a Shadow (00:02:24)
21. Why (00:03:01)
22. Dream Baby (00:02:01)
23. Memphis Tennessee (00:02:25)
24. Please Mr Postman (00:02:21)
25. Ask Me Why (00:02:26)
26. Besame Mucho (00:02:42)
27. A Picture of You (00:02:37)
28. What'd I Say (With Gene Vincent) (00:01:31)


CD 02 I Saw Her Standing There... (CD 2): (00:51:50)

01. Money (That's What I Want) (00:02:18)
02. Till There was You (00:02:52)
03. To Know Her is to Love Her (00:02:30)
04. Take Good Care of My Baby (00:02:21)
05. Memphis Tennessee (00:02:15)
06. Sure to Fall (In Love with You) (00:01:58)
07. Crying, Waiting, Hoping (00:01:57)
08. Love of the Loved (00:01:47)
09. September in the Rain (00:01:50)
10. Besame Mucho (00:02:33)
11. Some other Guy (00:02:02)
12. Some other Guy (00:02:16)
13. Kansas City (00:00:59)
14. Radio Interview (00:07:18)
15. I saw Her Standing There (00:03:10)
16. One after 909 (00:03:13)
17. One after 909 (Alternate Version) (00:03:18)
18. Catswalk (00:01:24)
19. Catswalk (Alternate Version) (00:01:25)
20. Love Me Do (First Vesrion) (00:02:22)
21. PS I Love You (00:02:02)

...( Info )...

Artist: AC/DC
Title: Dirty Deeds Done Dirt Cheap (2020 Remastered)
Year: 1976/2020
Genre: Rock
Style: Blues Rock, Hard Rock, Arena Rock
Label: Columbia
Duration: 00:39:49
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/44.1 kHz


...( TrackList )...


01. Dirty Deeds Done Dirt Cheap (00:03:52)
02. Love At First Feel (00:03:13)
03. Big Balls (00:02:39)
04. Rocker (00:02:53)
05. Problem Child (00:05:47)
06. There's Gonna Be Some Rockin' (00:03:18)
07. Ain't No Fun (Waiting Round To Be A Millionaire) (00:06:58)
08. Ride On (00:05:54)
09. Squealer (00:05:15)

...( Info )...

Artist: Bee Gees
Title: Bee Gees Blanket the World
Year: 2026
Genre: Pop
Label: UME - Global Clearing House
Duration: 02:29:06
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Bee Gees - Stayin' Alive (From "Saturday Night Fever" Soundtrack) (00:04:45)
02. Bee Gees - Night Fever (From "Saturday Night Fever" Soundtrack) (00:03:33)
03. Bee Gees - You Should Be Dancing (00:04:18)
04. Bee Gees - Jive Talkin' (00:03:45)
05. Bee Gees - How Deep Is Your Love (00:04:05)
06. Bee Gees - Tragedy (00:05:02)
07. Bee Gees - Too Much Heaven (00:04:57)
08. Bee Gees - Love You Inside Out (00:04:11)
09. Andy Gibb - I Just Want To Be Your Everything (00:03:46)
10. Andy Gibb - (Love Is) Thicker Than Water (00:04:16)
11. Andy Gibb - Shadow Dancing (00:04:36)
12. Bee Gees - If I Can't Have You (00:03:20)
13. Bee Gees - Grease (Live At The MGM Grand) (00:02:43)
14. Bee Gees - Emotion (New "Edit" Version) (00:03:39)
15. Bee Gees - Heartbreaker (Live At The MGM Grand/1997) (00:01:05)
16. Bee Gees - Islands In The Stream (Live At The MGM Grand/1997) (00:03:49)
17. Bee Gees - You Win Again (00:04:01)
18. Bee Gees - One (Single Version) (00:04:55)
19. Bee Gees Feat. Celine Dion - Immortality (Live - At The MGM Grand) (00:04:46)
20. Bee Gees - How Can You Mend A Broken Heart (00:03:56)
21. Bee Gees - Run To Me (00:03:12)
22. Bee Gees - My World (00:04:23)
23. Bee Gees - Love So Right (00:03:38)
24. Bee Gees - Words (00:03:16)
25. Bee Gees - I Started A Joke (00:03:09)
26. Bee Gees - I've Gotta Get A Message To You (00:03:04)
27. Bee Gees - For Whom The Bell Tolls (00:05:07)
28. Bee Gees - Massachusetts (00:02:24)
29. Bee Gees - World (00:03:15)
30. Bee Gees - First Of May (00:02:52)
31. Bee Gees - Don't Forget To Remember (00:03:28)
32. Bee Gees - Lonely Days (00:03:48)
33. Bee Gees - Saw A New Morning (00:04:13)
34. Bee Gees - Wouldn't I Be Someone (00:05:39)
35. Bee Gees - Mr. Natural (00:03:48)
36. Bee Gees - Spicks And Specks (Live At National Tennis Centre, Melbourne/1989) (00:02:25)
37. Bee Gees - Alone (00:04:50)
38. Bee Gees - To Love Somebody (00:03:02)
39. Bee Gees - He's A Liar (00:04:05)

...( Info )...

Składanka mireczka-muza mix vol.44
Gatunek: Różne
Rok:2026
mp3@320kbps
CZAS:01:59:09

...( TrackList )...

1.Rocco, Pulsedriver & Ninkid - Take me to the Rave
2.BITER - BIAŁY SZUM (2026)
3.Scooter - The Age Of Love
4.W&W & DJ TMTZ x Special D - Another Day In Paradise (Remix)
5.Charly Lownoise & Re-Style - The First Rebirth
6.Cosmic Gate - Exploration Of Space (Remix)
7.Hardwell & Blasterjaxx - Beat Of The Drum
8.Seeko & Patricia - Sweet Dreams (Techno Mix)
9.The Hitmen - Mission Control
10.Timmy Trumpet & Scooter - For Those About To Rave
11.Scooter & Harris & Ford - Techno Is Back
12.RavenstrikeX - Say it till I fade
13.Blasterjaxx - The Power Of Love
14.Benassi Bros - Illusion (Remix) 2026
15.AXMO & le Shuuk x LePrince - I Like To Move It
16.Dimitri Vegas & Like Mike & Timmy Trumpet & Sub Zero Project - Move Your Body
17.BassWar & CaoX, Bitshakerz, Eveek - Out of the Dark
18.MaxRiven - Insane
19.Brennan Heart, Timmy Trumpet, Blademasterz - Now We Are Free
20.Dj Matys - Orgasm (Bass Surrender Hardstyle Rework)
21.AXMO & ZIGGY X x DJ Sequenza - Zick Zack
22.Video - Papieros (Remix)
23.Evanescence - My Immortal (Bass Surrender Rework)
24.Friends Of Mayday, PETER PAHN - Iconic (2026)
25.Jordiz & Lawstylez - Weekend!
26.Lolita Jolie, Perfect Pitch & Basslovers United – Moi Lolita
27.Gabry Ponte - Destination Infinity
28.Members of Mayday - Sonic Empire (Bass Surrender Rework)
29.RavenstrikeX - I'm So Done
30.Jason Remix & Da Tweekaz - Scatman

...( Info )...

Składanka mireczka-muza mix vol.43
Gatunek: Różne
Rok:2026
mp3@320kbps
CZAS:01:59:09

...( TrackList )...

1.Alessandra - Queen of Kings (Remix)
2.AXMO & Groove Coverage x AKI-HIRO - Poison
3.Gabry Ponte X Blasterjaxx X 1 World - Now We Are Free (Remix)
4.Abba - Lay All Your Love On Me (Hardstyle Remix)
5.Brooklyn Bounce - Bass, Beats & Melody (Bass Surrender Rework)
6.Gabry Ponte - De Musica Tonante (Eletro Club Remix) 2026
7.Jan Wayne - Only You (Bass Surrender Rework)
8.MaxRiven - Flight
9.LUM!X, Gabry Ponte - Monster (Remix)
10.Scooter - The Logical Song (Hardstyle Festival Remix)
11.Safri Duo - Played A Live (The Bongo Song) (Remix)
12.The Prodigy - No Good (Remix)
13.W&W & AXMO x DJ TMTZ - Jump To The Stars (Remix)
14.Laura Branigan - Self Control (Paul Da Breda Remix)
15.Melanie C - I Turn To You (Remix) 2026
16.Nurkalyi X - 911 Sayber
17.Special D - You (Bass Surrender Rework)
18.Bonnie Tyler - Total Eclipse of the Heart (Bitshakerz Remix)
19.Cascada - Because The Night (Remix)
20.Dimitri Vegas & Like Mike & W&W & Marnik - Yeah
21.Faithless - We Come One (Remix)
22.MI37 & Quench - Dreams (Hardstyle Rave)
23.Skytech - Sandstorm
24.Thom Ares - Sara Perche Ti Amo (Remix)
25.MAYXORA - CHAOS (Original Mix)
26.Charly Lownoise & Mental Theo x Outsiders x Magro - Wonderful Days Reloaded
27.ElectricElwizz - Electric Fusion (Electro Freestyle)
28.Cosmyra - No Parents
29.W&W & Harris & Ford x Triiipl3 Inc. - Fantasy (Tricky Disco)
30.Scooter & Harris & Ford - Rave & Shout

...( Info )...

Składanka mireczka-muza mix vol.42
Gatunek: Różne
Rok:2026
mp3@320kbps
CZAS:01:39:31

...( TrackList )...

1.Bomfunk MC's - Freestyler (Remix)
2.Culture Beat - Mr. Vain (Paul Da Breda Remix)
3.Eminem - Mockingbird (Bootleg)
4.Blasterjaxx & AntoNetta - Hijo De La Luna
5.Cascada - Everytime We Touch (Actraiser Hardstyle Remix)
6.Erikootsa - All Around The World (La La La) (Remix)
7.Groove Coverage - God Is A Girl (Remix)
8.MaxRiven - After Tonight
9.Lolita Jolie, Rob & Chris & Rocco - Ella elle l’a (Techno Mix)
10.Pharao - There is a Star (Remix)
11.Benny Benassi - Satisfaction (Remix)
12.Cosmyra - Kernkraft 400 (Hardstyle Bootleg)
13.Falco - Out Of The Dark (Remix)
14.Ragal Ironbull - Valhalla Calling (Bitshakerz Remix)
15.Ragal Ironbull - Valhalla Calling (Hardstyle Remix) (Cover)
16.Diamonts & Rust (Remix)
17.DJ Sammy feat. Yanou & Do - Heaven (Bass Surrender)
18.Guru Josh Project - Infinity (Bass Surrender Hardstyle Rework)
19.Scooter & Paul Elstak x Joost - Luv U More
20.Terminator 2 - Judgment Day (Bass Surrender Hardstyle Remix)
21.SNAP! - Rhythm Is A Dancer (Remix)
22.Vengaboys - Boom, Boom, Boom, Boom!! (Bootleg)
23.Ran-D - Zombie
24.N Trance - Set U Free (Remix)
25.Dimitri Vegas & Like Mike & Tiësto & Dido & W&W - Thank You (Not So Bad)
26.Brooklyn Bounce feat. Deso Latee & Samantha Lawrence - Love & Bass
27.Scooter - No Rewind
28.Rihanna - Diamonds (Hardstyle Remix)
29.Ricchi E Poveri - Sara Perche Ti Amo (Remix)
30.Sabrina - Boys boys boys (Remix) 2026

...( Info )...

Artist: VA
Title: MoominValley (Official Soundtrack)
Year: 2019
Genre: Pop, Stage, Screen
Style: Indie Pop, Soundtrack
Label: Sony Music
Country: Europe
Duration: 00:52:16
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24 Bit/44.1 kHz

...( TrackList )...

01. MØ - Theme Song (I'm Far Away) (00:02:29)
02. ALMA - Starlight (00:02:21)
03. Tom Odell - Summer Day (00:02:59)
04. Colonel Suns - Back to the Cave (00:03:38)
05. Delilah Montagu - Love Me with All Your Heart (00:02:40)
06. First Aid Kit - Home Again (00:04:06)
07. Emilíana Torrini & The Colorist Orchestra - There Is Something in the Forest (00:03:44)
08. Josef Salvat - Home (00:03:20)
09. Ellinoora - All Small Beasts Should Have Bows in Their Tails (00:02:09)
10. Josef Salvat - Free Spirit (00:03:04)
11. SOAK - Country Air (00:03:27)
12. Mellah - By Your Side (00:03:09)
13. Declan McKenna - In Blue (00:04:54)
14. MØ & Goss - Northern Lights (00:03:38)
15. Dodie - Ready Now (00:03:02)
16. Roos+Berg - The Author (00:03:36)

...( Info )...

Artist: VA
Title: MoominValley 2 (Official Soundtrack)
Year: 2020
Genre: Stage, Screen
Style: Soundtrack
Label: Gutsy
Country: Europe
Duration: 00:25:19
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24 Bit/44.1 kHz

...( TrackList )...

01. Sam Huber - First Day of My Life (00:01:55)
02. Cavetown - Homesick (00:02:27)
03. girl in red - something new (00:03:26)
04. Jesse Markin - Made of Stone (00:02:41)
05. New Ro - Cloudy Eyes (00:03:19)
06. Alex Vargas - Change Is Gonna Know My Name (00:03:21)
07. BOBBI - Start Again (00:03:11)
08. Jens - A Place to Call Home (00:02:38)
09. Vilma Alina - Cloudy (00:02:21)

...( Info )...

Artist: Lana Del Rey
Title: Honeymoon
Year: 2015
Genre: Electronic, Rock, Pop
Style: Downtempo, Indie Pop, Ballad, Trip Hop, Soft Rock
Label: Polydor, Interscope Records
Country: Japan
Duration: 01:05:17
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. Honeymoon (00:05:51)
02. Music To Watch Boys To (00:04:51)
03. Terrence Loves You (00:04:51)
04. God Knows I Tried (00:04:41)
05. High By The Beach (00:04:18)
06. Freak (00:04:55)
07. Art Deco (00:04:55)
08. Burnt Norton (Interlude) (00:01:22)
09. Religion (00:05:23)
10. Salvatore (00:04:41)
11. The Blackest Day (00:06:06)
12. 24 (00:04:56)
13. Swan Song (00:05:23)
14. Don't Let Me Be Misunderstood (00:03:04)

...( Info )...

Artist: Al Bano, Romina Power
Title: The Collection
Year: 1998
Genre: Pop
Style: Vocal, Ballad, Schlager
Label: BMG, Ariola
Country: Poland
Duration: 01:03:30
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Felicitá (00:03:16)
02. It's Forever (00:03:00)
03. Tu Soltanto Tu (Mi Hai Fatto Innamorare) (00:03:41)
04. Io Ti Cerco (00:03:39)
05. Perché (00:03:56)
06. Angeli (00:03:30)
07. Arrivederci A Bahia (00:03:05)
08. Viaggiando (00:02:59)
09. U.S.America (00:04:09)
10. Quando Un Amore Se Ne Va (00:03:18)
11. Ci Sará (00:03:29)
12. Canzone Blu (00:03:28)
13. Grazie (00:03:34)
14. Anche Tu (00:03:27)
15. Sharazan (00:04:44)
16. E Se Tornerá (00:02:57)
17. Dialogo (00:03:08)
18. IL Covo Delle Aquile (00:04:10)

...( Info )...

Artist: Miley Cyrus
Title: Plastic Hearts
Year: 2020
Genre: Rock, Pop
Style: Arena Rock, Hard Rock, Post-Punk, Power Pop, Soft Rock, Pop Rock, Ballad
Publisher (label): RCA
Country: Japan
Duration: 00:54:38
Format/Codec: FLAC (tracks)
Audio bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. WTF Do I Know (00:02:52)
02. Plastic Hearts (00:03:26)
03. Angels Like You (00:03:16)
04. Prisoner (00:02:49)
05. Gimme What I Want (00:02:32)
06. Night Crawling (00:03:09)
07. Midnight Sky (00:03:43)
08. High (00:03:17)
09. Hate Me (00:02:38)
10. Bad Karma (00:03:08)
11. Never Be Me (00:03:36)
12. Golden G Stripg (00:03:50)
13. Edge Of Midnight (Midnight Sky Remix) (00:03:41)
14. Heart Of Glass (Live from the iHeart Festival) (00:03:34)
15. Zombie (Live from the NIVA Save Our Stages Festival) (00:04:51)
16. Who Owns My Heart (Live from the iHeart Festival) (00:04:16)

...( Info )...

Artist: U2
Title: Street Of Dreams
Year: 2026
Genre: Rock, Pop
Style: Pop Rock
Label: Universal-Island Records Ltd.
Duration: 00:03:55
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/48 kHz

...( TrackList )...



01. Street Of Dreams (00:03:55)

OldiesPart086
⭐MP3 @320 kbps
MIXED BAG 23

Albums:
10,000 Maniacs - 40th Anniversary 1981-2021, Their Greatest Hits [2021]
78 Saab - Crossed Lines [2004]
Al Green - Soul! (Live '73) [2021]
Ali Holder - In Preparation For Saturn's Return [2013]
Allan Holdsworth - Velvet Darkness [1976]
Animals with Eric Burdon - In The Beginning [1965]
Artisanals - Zia [2021]
B.J. Thomas - New Looks From An Old Lover, Singles [2017]
Batdorf & Rodney - Life Is You [1975]
Beggars Opera - Act One [1970]
Bodast - Towards Utopia [1969]
Boffalongo - Beyond Your Head [1970]
Bomba Estereo - Elegencia Tropical [2012]
Bon Iver - SABLE, fABLE [2025]
Bondi Cigars - 12 Lies [2003]
Bonnie Koloc - Bonnie Koloc [1973]
Booker T. Jones - The Road From Memphis (Deluxe Edition) [2011]
Box Tops - Dimensions [1969]
Boz Scaggs - Boz Scaggs [1969]
Brasstronaut - Mean Sun [2012]
Breadmakers - The Night The Moon Forgot To Rise [1993]
Brenda Patterson - Keep On Keepin' On [1970]
Brendan Canning - Home Wrecking Years [2016]
Brethren - Moment Of Truth [1971]
Brian Eno - Film Music 1976-2020 [2020]
Brian Fraser - Sitting On The Corner [2000]
Bright Eyes - Down in the Weeds, Where the World Once Was [2020]
Brigid Mae Power - The Two Worlds [2018]
Brinsley Schwarz - Nervous On The Road New Favourites [1995]
Broderick Smith - Crayon Angels [1996]
Brooks Williams - Lucky Star [2018]
Brothers Johnson - Look Out For #1 [2021]
Bruce Kaphan - Slider [2000
Bruce Langhorne - The Hired Hand [2012]
Bruce Springsteen - Letter To You [2020]
Bubblegum - Where Is Matthew Smith [2008]
Bubblegum Lemonade - Some Like It Pop [2013]
Buckingham Nicks - Buckingham Nicks [1973]
Buckinghams - The Hit Singles Collection [2015]
Buckinghams - Time & Charges [1967]
Buffalo - Average Rock 'n' Roller [1977]
Bunky And Jake - L.A.M.F. [1969]
Butterscotch Cathedral - The Butterscotch Cathedral [2015]
Butts Band - The Complete Recordings [1996]
Byard Lancaster - It's Not Up to Us [1968]
Byrds - Never Before [1987]
Cafe Tacuba - Jei Beibi [2017]
Caifanes - El Silencio [1992]
Cardigans - Best Of [2008] 2CD
Carlton Melton - Where This Leads [2020]
Carly Dow - Ingrained [2015]
caroline - caroline 2 [2025]
Caroline Says - No Fool Like an Old Fool [2018]
Cass McCombs - Interior Live Oak [2025]
Cat Stevens - Tea For The Tillerman [1970]
Catfish - Unlimited Address [1988]
Chain - Australian Rhythm & Blues [1987]
Chairmen Of The Board - Skin I'm In [1973]
Chameleons - The Fan And The Bellows, A Collection Of Classic Early Recordings [1986]
Charlatans - Between 10th and 11th [1992] 2CD
Charles Earland and Oddysey - The Great Pyramid [1976]
Charley Pride - The Essential Charley Pride [2003] 2CD
Charlie Watts - Charlie Watts Meets the Danish Radio Orchestra [2017]
Cheek - Cheek [1980] EP
Chet Atkins - The Most Popular Guitar [1961]
Chevelles - Rollerball Candy [1995]
Chewy Marble - Chewy Marble [1997]
Chick Corea & Return To Forever - Light As A Feather [1973]
Chicks - Gaslighter [2020]
Children Of Quechua - El Condor Pasa [1971]
Chris Cornell - No One Sings Like You Anymore [2020]
Chris Eckman - The Land We Knew [2025]
Chris Whitley - On Air [2008]
Christian Larsson - A Life in Black [2020]
Christopher Montgomery - Connecticut Elegy [1971]
Chuck Johnson - Balsams [2017]
Church - Deep In The Shallows, The Classic Singles Collection [2007] 2CD
Church - Heyday [1985]
Clarence Gatemouth Brown - Gate Walks To Board 1947-1960 Aladdin & Peacock Sides [2015]
Cloud Eleven - Cloud Eleven [1999]
Cocteau Twins - Victorialand [1986]
Coil - Musick to Play in the Dark Vol. 1 [1999]
VA - Baraka (OST) [2005]
VA - Beach-O-Rama [2016]
VA - Bigtop Soul Cellar [1999]
VA - Brent Superb 60's Soul Sound [2014]
VA - Buddy Guy's Legends Bluesbreakers 05 June [2008]
VA - Clarence Wheeler and The Enforcers, Doin' What We Wanna [1970]
VA - Classic Rock #116, Buried Treasure, Rare Tracks Forgotten Gems [2008]
VA - CTV's After Four [1968]

...( Info )...

Artists: Various Artists
Title: Trance 100 Selections - Top 25
Type/Genre: Compilation / Trance, Uplifting Trance, Rave
Release date: 2026-09-13
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/48kHz
Channels: 5.1 (Dolby Atmos JOC) up to 9.1.6
Format: .m4a
Size total: 479 MB
Tracks total: 25
Duration total: [01:18:04]

...( Dane Techniczne )...

Audio
ID               : 1
Format             : E-AC-3 JOC
Format/Info          : Enhanced AC-3 with Joint Object Coding
Commercial name        : Dolby Digital Plus with Dolby Atmos
Codec ID            : ec-3
Duration            : 3 min 3 s
Bit rate mode         : Constant
Bit rate            : 768 kb/s
Channel(s)           : 6 channels
Channel layout         : L R C LFE Ls Rs
Sampling rate         : 48.0 kHz
Frame rate           : 31.250 FPS (1536 SPF)
Compression mode        : Lossy
Stream size          : 16.8 MiB (89%)
Service kind          : Complete Main
Default            : Yes
Alternate group        : 2
Encoded date          : 2025-11-06 14:26:34 UTC
Tagged date          : 2025-11-06 14:26:34 UTC
Complexity index        : 16
Number of dynamic objects   : 15
Bed channel count       : 1 channel
Bed channel configuration   : LFE
Dialog Normalization      : -18 dB
compr             : -0.28 dB
dmixmod            : Lo/Ro
ltrtcmixlev          : -3.0 dB
ltrtsurmixlev         : -3.0 dB
lorocmixlev          : -3.0 dB
lorosurmixlev         : -3.0 dB
dialnorm_Average        : -18 dB
dialnorm_Minimum        : -18 dB
dialnorm_Maximum        : -18 dB

...( TrackList )...

01. Armin Van Buuren - All Night
02. Armin Van Buuren - Angels
03. Armin Van Buuren - City Lights
04. Armin Van Buuren - Destination (A State of Trance 2024 Anthem)
05. Armin Van Buuren - Dream A Little Dream
06. Armin Van Buuren - Es Vedrà
07. Armin Van Buuren - Euphoria (with Alok)
08. Armin Van Buuren - Gimme The Love
09. Armin Van Buuren - In The Dark
10. Armin Van Buuren - Keep The Faith (Explicit)
11. Armin Van Buuren - Let It Be For Love
12. Armin Van Buuren - Love Is A Drug
13. Armin Van Buuren - Love
14. Armin Van Buuren - Set Me Free
15. Armin Van Buuren - Sleepless Nights
16. Armin Van Buuren - Sound of You
17. Armin Van Buuren - Space Case
18. Armin Van Buuren - Toca's Miracle
19. Arty - Favorite Sound
20. Eelke Kleijn - Stranger's Town
21. Eelke Kleijn - Transmission (Joris Voorn Remix)
22. Gabry Ponte - Body
23. Indira Paganotto - Dragon
24. ORKID - Love Is Eternity
25. Will Clarke - Burn This City

...( Info )...

Artist: Pulen & Koff
Title: Memories at sunset (Melodic deep house)
Year: 2026
Genre: Deep House
Country: Russia
Duration: 00:56:23
Format/Codec: FLAC
Audio Bitrate: 635

...( TrackList )...

1. Intro
2. Sunset Whispers
3. Golden Hour Echoes
4. Fading Light, Lingering Love
5. Drift into Dusk
6. Velvet Sky Melodies
7. Between Sunset and Silence
8. Echoes of Yesterday
9. Warm Shadows, Quiet Thoughts
10. Memories in the Glow
11. Slow Burn of Sunset
12. Under the Dying Sun
13. Whispered Promises at Dusk
14. Silhouettes in the Orange Light
15. Carry the Sunset Home
16. It was a good day
17. One again

...( Info )...

Artist: George Michael
Title: Father Figure
Year: 2026
Genre: Pop
Label: Sony Music CG
Duration: 00:16:06
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/44.1 kHz

...( TrackList )...



01. Father Figure (00:05:40)
02. Love's in Need of Love Today (Live) (00:04:44)
03. Father Figure (Instrumental) (00:05:42)

...( Info )...

Artist: George Michael
Title: One More Try
Year: 2026
Genre: Pop
Label: Sony Music CG
Duration: 00:10:30
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/44.1 kHz

...( TrackList )...



01. One More Try (00:05:51)
02. Look at Your Hands (00:04:39)

...( Info )...

Artist: George Michael
Title: Careless Whisper EP
Year: 2024
Genre: Pop
Label: Sony Music CG
Duration: 00:22:21
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/44.1 kHz

...( TrackList )...



01. Careless Whisper (Remastered) (00:05:03)
02. Careless Whisper (Extended Mix) (00:06:31)
03. Careless Whisper (Live From Madison Square Garden) (00:05:42)
04. Careless Whisper (Instrumental) (00:05:05)

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


..::TRACK-LIST::..

Recorded on October 1st - 2011 at Z7, Pratteln, Switzerland

Concert (1:54:36)
I. Pandemonium
II. I.N.V.U.
III. Hell On High Heels
IV. Wake Up To The Real World
V. Destination Paradise
VI. Another Shot Of Your Love
VII. Scream
VIII. Walk Away
IX. It Comes At Night
X. Queen Of Dreams
XI. Savage Heart
XII. Clay
XIII. Yellow Rain
XIV. Rock The House
XV. Back To Back
XVI. Rodeo
XVII. Lovegames
XVIII. Future World
XIX. Little Drops Of Heaven
XX. Please Don't Leave Me (Written By-John Sykes, Phil Lynott)
XXI. Red Hot And Heavy

XXII. It Comes Alive - The Movie 42:47



..::OBSADA::..

Bass - Rene Shades
Drums - Allan Tschicaja
Guitar - Ken Hammer
Keyboards - Morten Sandager
Vocals - Ronnie Atkins



https://www.youtube.com/watch?v=E8fyhZHCams


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

..::INFO::..

---------------------------------------------------------------------
George Harrison - Wonderwall Music
---------------------------------------------------------------------

Artist...............: George Harrison
Album................: Wonderwall Music
Genre................: Soundtrack
Source...............: CD
Year.................: 1968-2005
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 57 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Apple Records - Japan

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

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

1. George Harrison - Microbes [03:44]
2. George Harrison - Red Lady Too [01:57]
3. George Harrison - Tabla And Pakavaj [01:05]
4. George Harrison - In The Park [04:10]
5. George Harrison - Drilling A Home [03:07]
6. George Harrison - Guru Vandana [01:07]
7. George Harrison - Greasy Legs [01:27]
8. George Harrison - Ski-ing [01:50]
9. George Harrison - Gat Kirwani [01:15]
10. George Harrison - Dream Scene [05:30]
11. George Harrison - Party Seacombe [04:35]
12. George Harrison - Love Scene [04:17]
13. George Harrison - Crying [01:19]
14. George Harrison - Cowboy Music [01:30]
15. George Harrison - Fantasy Sequins [01:51]
16. George Harrison - On The Bed [02:23]
17. George Harrison - Glass Box [01:07]
18. George Harrison - Wonderwall To Be Here [01:27]
19. George Harrison - Singing Om [01:54]

Playing Time.........: 45:43
Total Size...........: 260,96 MB

Bass – Philip Rogers
Drums – Roy Dyke
Engineer – Kevin Reeves
Esraj [Thar-shanhai] – Vinaik Vora
Flugelhorn – John Barham
Flute – S.R. Kenkare
Guitar – Colin Manley
Harmonica – Tommy Reilly
Harmonium, Percussion [Tabla-tarang] – Rij Ram Desad
Organ – Edward Antony Ashton
Piano – John Barham
Piano [Jangle] – Edward Antony Ashton
Santoor – Shiv Kumar Shermar
Sarod – Ashish Kahn
Shanai – Hanuman Jadev, Sharad
Sitar – Indril Bhattacharya, Shambu-Das, Shankar Ghosh
Steel Guitar – Colin Manley
Surbahar – Chandra Shakher
Tabla, Pakhavaj – Mahapurush Misra
Producer, Arranged By, Written-By – George Harrison

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


..::OPIS::..

Zremasterowana, świetnie brzmiąca i od wielu lat niedostępna reedycja wydanego w lutym 1973 roku, jedynego albumu zapomnianej, szwajcarskiej grupy. Zespół imponował wysokim poziomem wykonawczym i dojrzałością kompozycji a jednocześnie w umiejętny i różnorodny sposób połączył ciężkie, organowo-gitarowe brzmienie o wyraźnie brytyjskich korzeniach z melodyjnym rockiem. Z jednej strony słychać tutaj wpływy Deep Purple, Uriah Heep, Pink Floyd i Van Der Graaf Generator, ale również francuskich, progresywnych formacji, jak Ange i Triangle. Płyty słucha się jednym tchem, gdyż (za wyjątkiem jednego, 3-minutowego muzycznego żartu) wypełniało ją 'samo gęste'!
Dodam tylko, że w drugiej części oryginalnego winylu znalazła się 20-minutowa, progresywna suita! 'Substratum' pozostaje jedną z najciekawszych, choć mało znanych płyt kontynentalnego, europejskiego rocka progresywnego pierwszej połowy lat 70.

JL

Country Lane were a band from the French-speaking part of Switzerland, hailing from La Chaux-De-Fonds in the Neuchatel district. The band was formed in October 1970 by guitarist Raymond Amey, keyboardist Olivier Maire and rhythm guitarist Freddy Von Kaenel. The next year, after several personnel changes, a rhythm section was added to the original trio: between July and October 1971, bassist GianCarlo Duella and drummer Jean-Francois Donze completed the line-up that was responsible for the band's only album, called "Substratum".

Olivier Maire was always aiming at perfection as an instrumentalist. He was born in Bienne on the first of September 1951. Intending to be a doctor in the first place, he nevertheless made rime to learn piano, guitar and organ. His first band experience was with a group called Structures, going on with Country Lane. Tragically, he died in a motorbike accident on a Greek road, a few years after the release of "Substratum'". Raymond Amey was born on the 20th of November 1952 in La Chaux-De- Fonds. An accomplished musician, he was an outstanding performer on both six and twelve-string electric guitars, besides playing synthesizers and kazoo. Furthermore, he proved to be an honest singer and a gifted composer. A photographer in civilian life, he made his musical debut with Rhinos and Next Time, two local bands who achieved some success wav back in the early Seventies.

A childhood friend of the aforementioned and a former member of Golden Birds, Freddy Von Kaenel was born in the same town, the same year, yet on the 16th of March. Of course, he played the same instrument... Nevertheless, he soon developed his own style, playing essentially acoustic or twelve-string electric rhythm guitar. He describes himself not without humour as being... '' To Country Lane what wheat flour is to bechamel sauce. ", meaning that he was an efficient binder between the different musical tendencies at work within the band. I Ic also was an established high-level economics. GianCarlo Duella is also a native of La Chaux-De-Fonds. Actually, he was born one year after his buddies, on the 7th of March 1953. He started playing bass quite by chance, shortly before joining Country Lane. Yet, he quickly made great progress, establishing himself as an extremely talented musician who wasn't afraid to call his skills into question.

Having music and exhausting high-technology studies on the go at the rime, he usually hides his shyness behind reserve. Born April 16th 1952, Jean-Francois Donze was a self-taught percussionist, who started his drumming career on... Kitchen utensils !!! This happened quite unaffectedly at a rather hectic party together with some close friends. Forever bitten by the percussive bug, he discovered that he was cut out for drumming. He made his debut with Open Road before landing up in Country Lane. He describes himself as a very pleasant human being, who wouldn't be as powerful a performer except for what he calls mischievkmsly " Small outbursts of madness... ". A graphic arts student (He designed the album's inside cover drawing.) and a lover of surrealistic painting and Frank Zappa's music, Jean-Francois Donze is most of all a tireless creative person.

As soon as January 1972, Country Lane sorted to compose an original repertoire. The result of a relatively simple collective process, the group's music was created by all five bandmembers, beginning from a basical idea put forward by one of them. As soon as someone's tune sketches were approved by the other four, the themes were fleshed out and embellished into a conclusive song by the band. As for the lyrics, they were written exclusively in Shakespeare's language.

Not content with offering an almost perfect performance at each of their gigs, Country Lane indulged themselves in an unfailing relaxed attitude when on stage. The equipment at their disposal was intentionally overabundant, in order to guarantee the quintet all possible means to express their adventurous musical ideas. Prefering to emphasize the music above all, the band gave up the idea of using a wealthy light show or any stage histrionics, contrary to Pink Floyd with whom Country Lane were often compared. The band quickly obtained national recognition, thanks notably to their rock-opera "The Story Of Alan And Pearl", lasting for almost one hour and a half. Let's also point out a memorable gig in their home town of I .a Chaux- De-Fonds on the 10th of June 1972, when they opened the show for Daevid Allen’s Gong and several outstanding performances in Geneva.

During one of their stays there, Country Lane won second prize at a bands' contest held at the Black Bird club. The competition, organized over a period of one month by the club's manager Eliane Pade, gathered about thirty acts whose respective values were judged by several record companies' executives. Country Lane were presented the budget necessary to record an album by a well-known Swiss television broadcaster, Marius Berger, together with invitations to perform at noted festivals all over Switzerland. The most expensive Swiss long playing of its era, "Substratum" was eventually recorded at La Chaux-De-Fonds' Soundcraft Studio on the 9th of November 1972, under the supervision of Jean-Pierre Louvin and Chris Penycate.

The album was released on the 16th of May 1973, op the Splendid Records label. The band were resolutely opposed to any classification of their work. In their own terms: " Basically, we play the music we love, the genre we feel the most confident within ourselves. " With more straight rock stylings scattered through its songs, the album brings out an anguished lyrical nucleus around which vocals and guitars create an escapist, dreamy climate.

The musicians' creativity seems to be constandy stimulated, showcasing their talents and own style to the best advantage. As an attempt to characterize their music, one could speak of a perfect assimilation of the heavy English school made famous by Deep Purple and Uriah Heep, together with the best Anglo- Saxon Progressive Rock, the results sometimes recalling the songs of their Belgian colleagues Waterloo.

The album met with favourable reviews from the French-speaking Swiss press. The band were often compared to such different artists as Nektar (Yet in a less experimental manner...), Fairport Convention or Soft Machine. Even if the critics pointed out, albeit with indulgence, at the lack of maturity of some compositions and the band's relative lack of experience, they appreciated Country Lane's artistic qualities and overall freshness, predicting good prospects for them. Sadly, "Substratum" remained the band's only effort, leaving much promises without realisation.

Firstly, the album's release coincided with financial problems at Splendid Records, resulting in an obvious lack of energy to promote the record. Moreover, personal differences arose, preventing the band, who were conscious of their slight amateurism, to gig regularly and promote their work by themselves. Gradually, this situation led to the end of their career.

A quarter of a century later, the four surviving members of Country Lane have found themselves with various destinies. Most of them have settled down, are family men and, perhaps a sign of the times, have done well in business and their professional undertakings, whereas they held the decadence of the establishment up to ridicule in the distant Seventies. Nevertheless, their intractable spirit has remained in some way: besides being the manager of a computer firm, Raymond Amey has never ceased to write songs. In 1997, he eventually decided to reform a rock group with former local musicians, among whom is his old chum Freddy Von Kaenel himself, nowadays the manager of a foodstuffs firm. Due to Belgian Philippe Collingon and Music Emporium's passion, "Substratum" was first released in CD format some years ago.

This one being available no more, Musea gives you a chance to get the remixed version now. Made in a Toulouse studio, the operation let the two meet again with GianCarlo Duella, now a computer engineer living on the shores of the Geneva lake, after spending several months studying in the United States of America. Jean-Francois Donze sadly couldn't attend the reunion, suffering from multiple sclerosis. A divorced and childless man, he creates his own models of (Swiss !) watches for reputed trademarks. Some twenty-seven years after its only album release, Country Lane remains a good example of those little known, yet multitalented bands, swarming all over Europe in the Seventies and often displaying fresh ideas and enthusiasm far beyond their financial means.

As for Country Lane their effort looks all the more remarkable since Switzerland wasn't overflowing with Progressive bands at the time. Welcome wouldn't emerge before two or three years, whilst keyboards wizzard Patrick Moraz essentially made a name for himself in the United Kingdom and abroad. From this point of view, Raymond Amey, reveals a lesser known side of the Progressive Rock history, outof- the-way for most listeners a too long time.

Jean-Pierre Louvin, Freddy Von Kaenel and Raymond Amey



..::TRACK-LIST::..

1. With A Sweet Whistle To My Ears 6:13
2. It's Only Your Memory Playing Just The Thought Of A First Love 2:22
3. Substratum 2:40
4. In The Morning Sun 3:17
5. Good Old Time 2:29
6. The Disgusting Story Of The Captain Bloom
- Song To Ivan 5:25
- Letter To A Friend 7:35
- Captain Bloom 2:24
- Lilliput's Safari 2:07



..::OBSADA::..

Guitar, Synthesizer, Kazoo, Vocals - Raymond Amey
Organ, Spinet, Piano, Vocals (tracks: 5) - Olivier Maire
Bass - GianCarlo Duella
Drums, Percussion, Bongos - Jean-François Donze
Rhythm Guitar, Banjo - Freddy Von Kaenel



https://www.youtube.com/watch?v=MiKuYsTzsx4


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

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


..::OPIS::..

Zremasterowana, świetnie brzmiąca i od wielu lat niedostępna reedycja wydanego w lutym 1973 roku, jedynego albumu zapomnianej, szwajcarskiej grupy. Zespół imponował wysokim poziomem wykonawczym i dojrzałością kompozycji a jednocześnie w umiejętny i różnorodny sposób połączył ciężkie, organowo-gitarowe brzmienie o wyraźnie brytyjskich korzeniach z melodyjnym rockiem. Z jednej strony słychać tutaj wpływy Deep Purple, Uriah Heep, Pink Floyd i Van Der Graaf Generator, ale również francuskich, progresywnych formacji, jak Ange i Triangle. Płyty słucha się jednym tchem, gdyż (za wyjątkiem jednego, 3-minutowego muzycznego żartu) wypełniało ją 'samo gęste'!
Dodam tylko, że w drugiej części oryginalnego winylu znalazła się 20-minutowa, progresywna suita! 'Substratum' pozostaje jedną z najciekawszych, choć mało znanych płyt kontynentalnego, europejskiego rocka progresywnego pierwszej połowy lat 70.

JL

Country Lane were a band from the French-speaking part of Switzerland, hailing from La Chaux-De-Fonds in the Neuchatel district. The band was formed in October 1970 by guitarist Raymond Amey, keyboardist Olivier Maire and rhythm guitarist Freddy Von Kaenel. The next year, after several personnel changes, a rhythm section was added to the original trio: between July and October 1971, bassist GianCarlo Duella and drummer Jean-Francois Donze completed the line-up that was responsible for the band's only album, called "Substratum".

Olivier Maire was always aiming at perfection as an instrumentalist. He was born in Bienne on the first of September 1951. Intending to be a doctor in the first place, he nevertheless made rime to learn piano, guitar and organ. His first band experience was with a group called Structures, going on with Country Lane. Tragically, he died in a motorbike accident on a Greek road, a few years after the release of "Substratum'". Raymond Amey was born on the 20th of November 1952 in La Chaux-De- Fonds. An accomplished musician, he was an outstanding performer on both six and twelve-string electric guitars, besides playing synthesizers and kazoo. Furthermore, he proved to be an honest singer and a gifted composer. A photographer in civilian life, he made his musical debut with Rhinos and Next Time, two local bands who achieved some success wav back in the early Seventies.

A childhood friend of the aforementioned and a former member of Golden Birds, Freddy Von Kaenel was born in the same town, the same year, yet on the 16th of March. Of course, he played the same instrument... Nevertheless, he soon developed his own style, playing essentially acoustic or twelve-string electric rhythm guitar. He describes himself not without humour as being... '' To Country Lane what wheat flour is to bechamel sauce. ", meaning that he was an efficient binder between the different musical tendencies at work within the band. I Ic also was an established high-level economics. GianCarlo Duella is also a native of La Chaux-De-Fonds. Actually, he was born one year after his buddies, on the 7th of March 1953. He started playing bass quite by chance, shortly before joining Country Lane. Yet, he quickly made great progress, establishing himself as an extremely talented musician who wasn't afraid to call his skills into question.

Having music and exhausting high-technology studies on the go at the rime, he usually hides his shyness behind reserve. Born April 16th 1952, Jean-Francois Donze was a self-taught percussionist, who started his drumming career on... Kitchen utensils !!! This happened quite unaffectedly at a rather hectic party together with some close friends. Forever bitten by the percussive bug, he discovered that he was cut out for drumming. He made his debut with Open Road before landing up in Country Lane. He describes himself as a very pleasant human being, who wouldn't be as powerful a performer except for what he calls mischievkmsly " Small outbursts of madness... ". A graphic arts student (He designed the album's inside cover drawing.) and a lover of surrealistic painting and Frank Zappa's music, Jean-Francois Donze is most of all a tireless creative person.

As soon as January 1972, Country Lane sorted to compose an original repertoire. The result of a relatively simple collective process, the group's music was created by all five bandmembers, beginning from a basical idea put forward by one of them. As soon as someone's tune sketches were approved by the other four, the themes were fleshed out and embellished into a conclusive song by the band. As for the lyrics, they were written exclusively in Shakespeare's language.

Not content with offering an almost perfect performance at each of their gigs, Country Lane indulged themselves in an unfailing relaxed attitude when on stage. The equipment at their disposal was intentionally overabundant, in order to guarantee the quintet all possible means to express their adventurous musical ideas. Prefering to emphasize the music above all, the band gave up the idea of using a wealthy light show or any stage histrionics, contrary to Pink Floyd with whom Country Lane were often compared. The band quickly obtained national recognition, thanks notably to their rock-opera "The Story Of Alan And Pearl", lasting for almost one hour and a half. Let's also point out a memorable gig in their home town of I .a Chaux- De-Fonds on the 10th of June 1972, when they opened the show for Daevid Allen’s Gong and several outstanding performances in Geneva.

During one of their stays there, Country Lane won second prize at a bands' contest held at the Black Bird club. The competition, organized over a period of one month by the club's manager Eliane Pade, gathered about thirty acts whose respective values were judged by several record companies' executives. Country Lane were presented the budget necessary to record an album by a well-known Swiss television broadcaster, Marius Berger, together with invitations to perform at noted festivals all over Switzerland. The most expensive Swiss long playing of its era, "Substratum" was eventually recorded at La Chaux-De-Fonds' Soundcraft Studio on the 9th of November 1972, under the supervision of Jean-Pierre Louvin and Chris Penycate.

The album was released on the 16th of May 1973, op the Splendid Records label. The band were resolutely opposed to any classification of their work. In their own terms: " Basically, we play the music we love, the genre we feel the most confident within ourselves. " With more straight rock stylings scattered through its songs, the album brings out an anguished lyrical nucleus around which vocals and guitars create an escapist, dreamy climate.

The musicians' creativity seems to be constandy stimulated, showcasing their talents and own style to the best advantage. As an attempt to characterize their music, one could speak of a perfect assimilation of the heavy English school made famous by Deep Purple and Uriah Heep, together with the best Anglo- Saxon Progressive Rock, the results sometimes recalling the songs of their Belgian colleagues Waterloo.

The album met with favourable reviews from the French-speaking Swiss press. The band were often compared to such different artists as Nektar (Yet in a less experimental manner...), Fairport Convention or Soft Machine. Even if the critics pointed out, albeit with indulgence, at the lack of maturity of some compositions and the band's relative lack of experience, they appreciated Country Lane's artistic qualities and overall freshness, predicting good prospects for them. Sadly, "Substratum" remained the band's only effort, leaving much promises without realisation.

Firstly, the album's release coincided with financial problems at Splendid Records, resulting in an obvious lack of energy to promote the record. Moreover, personal differences arose, preventing the band, who were conscious of their slight amateurism, to gig regularly and promote their work by themselves. Gradually, this situation led to the end of their career.

A quarter of a century later, the four surviving members of Country Lane have found themselves with various destinies. Most of them have settled down, are family men and, perhaps a sign of the times, have done well in business and their professional undertakings, whereas they held the decadence of the establishment up to ridicule in the distant Seventies. Nevertheless, their intractable spirit has remained in some way: besides being the manager of a computer firm, Raymond Amey has never ceased to write songs. In 1997, he eventually decided to reform a rock group with former local musicians, among whom is his old chum Freddy Von Kaenel himself, nowadays the manager of a foodstuffs firm. Due to Belgian Philippe Collingon and Music Emporium's passion, "Substratum" was first released in CD format some years ago.

This one being available no more, Musea gives you a chance to get the remixed version now. Made in a Toulouse studio, the operation let the two meet again with GianCarlo Duella, now a computer engineer living on the shores of the Geneva lake, after spending several months studying in the United States of America. Jean-Francois Donze sadly couldn't attend the reunion, suffering from multiple sclerosis. A divorced and childless man, he creates his own models of (Swiss !) watches for reputed trademarks. Some twenty-seven years after its only album release, Country Lane remains a good example of those little known, yet multitalented bands, swarming all over Europe in the Seventies and often displaying fresh ideas and enthusiasm far beyond their financial means.

As for Country Lane their effort looks all the more remarkable since Switzerland wasn't overflowing with Progressive bands at the time. Welcome wouldn't emerge before two or three years, whilst keyboards wizzard Patrick Moraz essentially made a name for himself in the United Kingdom and abroad. From this point of view, Raymond Amey, reveals a lesser known side of the Progressive Rock history, outof- the-way for most listeners a too long time.

Jean-Pierre Louvin, Freddy Von Kaenel and Raymond Amey



..::TRACK-LIST::..

1. With A Sweet Whistle To My Ears 6:13
2. It's Only Your Memory Playing Just The Thought Of A First Love 2:22
3. Substratum 2:40
4. In The Morning Sun 3:17
5. Good Old Time 2:29
6. The Disgusting Story Of The Captain Bloom
- Song To Ivan 5:25
- Letter To A Friend 7:35
- Captain Bloom 2:24
- Lilliput's Safari 2:07



..::OBSADA::..

Guitar, Synthesizer, Kazoo, Vocals - Raymond Amey
Organ, Spinet, Piano, Vocals (tracks: 5) - Olivier Maire
Bass - GianCarlo Duella
Drums, Percussion, Bongos - Jean-François Donze
Rhythm Guitar, Banjo - Freddy Von Kaenel



https://www.youtube.com/watch?v=MiKuYsTzsx4


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

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


..::OPIS::..

44 lata działalności, 9 albumów i wierna rzesza fanów. Niemiecki Paradox to dobrze znana marka wśród maniaków speed/thrash metalu z domieszką power metalu. Na swoim koncie mają kilka znakomitych płyt, takich jak Heresy czy Pangea. Teraz Charly Steinhauer powraca z nowym krążkiem zatytułowanym Mysterium, którego premiera zaplanowana jest na 26 września 2025 roku nakładem High Roller Records.

Choć niegdyś Paradox był pełnoprawnym zespołem, dziś to właściwie jednoosobowy projekt – za wszystko odpowiada Steinhauer. Trudno jednak mówić tu o jakimkolwiek problemie, ponieważ Charly to muzyk wszechstronny i utalentowany. Na Mysterium serwuje słuchaczom charyzmatyczne partie wokalne, ciekawe melodie i wyraziste motywy gitarowe, dzięki czemu naprawdę nie ma powodów do narzekań.

Pod względem jakości to zdecydowanie krok naprzód w porównaniu z Heresy II – śmiało można stwierdzić, że to jeden z najlepszych albumów w dorobku Paradox. Na wyróżnienie zasługuje również klimatyczna okładka oraz potężne, selektywne brzmienie, które dodaje całemu materiałowi siły i wyrazistości. Sama grafika idealnie wpisuje się w estetykę zespołu, ale jak zawsze – najważniejsza jest muzyka.

Album zawiera 11 utworów. Już otwierający go, rozpędzony "Kholat", pokazuje geniusz Charliego – agresywny riff, szybkie tempo i bezkompromisowa energia czynią z niego jeden z najmocniejszych punktów płyty. Taki Paradox uwielbiamy!

Kolejny mocny akcent to rozbudowany, pełen nieoczywistych rozwiązań "Abyss of Pain and Fear" – siedem minut doskonale wyważonej mieszanki thrashu i power metalu, które mijają w mgnieniu oka.

Dalej robi się jeszcze ciekawiej – progresywny i zróżnicowany "Those Who Resist", brutalny "One Way Ticket to Die", który doskonale oddaje ducha niemieckiego thrashu, czy kolejny energetyczny cios – "Fragrance of Violence" – to numery, które aż kipią od metalowej pasji i technicznej precyzji.

Tytułowy "Mysterium" wyróżnia się atmosferą i kompozycyjną finezją, a "The Demon God" to kolejna bezlitosna thrashowa petarda, która nie pozostawia miejsca na wytchnienie.

Całość wieńczy melodyjny, pełen detali "Within the Realms of Grey" – doskonałe zakończenie intensywnej, przemyślanej podróży przez świat Paradox.

Zespół – a właściwie Charly Steinhauer – powraca w wielkim stylu z albumem godnym swojej legendy. Mysterium to potężna dawka thrashu, podlana heavy/power metalowym sosem, pełna znakomitych kompozycji i muzycznego ognia. Bez wątpienia jedna z najciekawszych płyt w ich dorobku – warto czekać na premierę!

PMW


This album is dedicated to Axel Blaha (1964-2023), co-founder of PARADOX (R.I.P.)

“Mysterium” is the ninth studio album by German thrash metal institution Paradox and marks a special milestone in the band’s 44-year history, as founder and mastermind Charly Steinhauer not only played all the instruments and sang, but also handled the production entirely on his own.
“I'm capable of it,” he explains. “Everything you hear on the album, I played. I programmed the drums, but it sounds like a real drummer played them at the highest level. I worked on it day and night until everything was perfect.” Only the mastering was left to Patrick W. Engels competent hands.
The songs on “Mysterium” are thematically linked, without it being a classic concept work. The lyrics – which, as on ‘Tales of the Weird’ (2012) and ‘Pangea’ (2016), were written by Achim “Dax” Hömerlein (ex-Vendetta) – revolve around mystical stories and world events that have personally moved Steinhauer. Songs like ‘Abyss of Pain and Fear’ (inspired by the movie “Midnight Express”), the instrumental ‘Grief’ (a tribute to co-founder Axel Blaha, who died in 2023) or the title track (about dream interpretation) thus form a common thread.
The cover art, created by Travis Smith (Opeth Death, et al.), picks up on the theme of the title track and shows a sleepwalking woman. “I didn’t want any skulls or other clichéd things,” says Steinhauer. “It’s more reminiscent of a horror film.” In his own estimation, “Mysterium” is the strongest Paradox album to date: “It became my favourite alongside ‘Heresy’ from 1989. The songs all have their own identity, are catchy, and when the album is over, I want to listen to it again straight away.”
The bandleader does not rule out concerts for “Mysterium”, but his focus remains on studio productions. In fact, he is already thinking about a follow-up album. “I’m a fan of music myself, and CDs or LPs are what I remember, of course in connection with some of the concerts I’ve attended. That is why I need new music, also from myself. And eventually, I want to not have released one single album that has been poorly rated.”



Though the idea of any thrash-adjacent musical affair, even of the more progressive persuasion, having a mysterious bent to it seems extremely counterintuitive; the best way to understand the more than 40 years running Teutonic machine that is Paradox is enigmatic. Not so much in the sense that the music offered up under said moniker defies all convention, but definitely in that it sits almost perfectly in that stylistic no man's land that lies between melodic, progressive and extreme metal; committing to none of them completely yet showing clear tendencies towards the thrashing side of the equation. When considering the mixed approach of fellow German contemporaries like Iron Angel and Angel Dust, one can easily see a heavy bent towards the upcoming shift towards the power metal wave ushered in by Helloween's Keeper Of The Seven Keys albums, but even the old time power thrashing majesty of 1987's Product Of Imagination was of a different persuasion that maybe carried a few hints of the more melodic strain of metal that was afoot, but was gunning for something darker and more nuanced. The subsequent pivots to a more thrash-infused sonic paradigm on 1989's Heresy and their 2000s post-reunion would see this tendency become more pronounced, though even by the dawn of the 2020s it would continue to allot for a melodic character that remained atypical in relation to the rest of the thrash scene and in line with where things began for them in the mid-80s.

In relation to an extensive career now spanning 10 albums when including the unearthing of the lost 3rd album Rearrange The Past the previous year, 2025's Mysterium offers few in the way of changes apart from band founder guitarist/vocalist Charly Steinhauer effectively morphing Paradox into a one-man outfit. The drawn out blends of neck-destroying speed/thrash riff assaults and dreary atmospheric introductory and go-between segments that has typified its modus operandi since 2000's Collision Course remain firmly in place, dogged by technically-charged lead breaks (now being handled exclusively by Steinhauer) and an almost earworm approach to chorus hooks that is uncommon to the lion's share of thrash outfits, be they Teutonic or otherwise. The use of a drum machine in the face of the untimely passing of drummer and co-founder Alex Blaha feels strangely appropriate given that the moribund character of the album's music and recurring theme of death and suffering suggests that his ghost endures amid the frenzy of rapid-fire beats, and ultimately comes off as organic despite being 100% synthetic. From the dense arrangements and elaborate sectional transitions to Charly's gruffy yet tuneful vocal attack, the whole thing just works as a cohesive outfit that listens more like a full band than a lone wolf emulating one in the studio.

Compared to the gargantuan fit of conceptual storytelling that was 2021's Heresy II: End Of A Legend, this is Paradox's version of getting back to basics, which means an album that is still loaded with detailing at the periphery, but comparatively more focused on biting thrashers delivered with reckless abandon. Though clocking in at over 6 minutes and frontloaded with an extended atmospheric exposition that paints the same misty forest landscape with sound that adorns the cover, the opening foray "Kholat" slams the pedal to the proverbial metal like best of the 80s Bay Area just landed in Bavaria. A similar story with more technical bells and whistles emerges in the high octane crusher "Abyss Of Pain And Fear", laying down the speed-thrashing mayhem like it's going out of style and landing one of the most brilliantly realized breakdown segments before Steinhauer lights up his fret board with a truly spellbinding guitar solo cacophony. Among the other blazing speeders to break the sound barrier while clocking in a tad shorter include "One Way Ticket To Die" and "Fragrance Of Violence", with Charly's signature vertabrae-destroying riff work continually ruling the roost and occasionally making way for eclectic contrast points of a softer persuasion.

Granted, Paradox has never lived by pit-exploding thrash alone, and alongside the Bay Area-inspired carnage with a tall side order of genre-defying interludes is a healthy share of more nuanced sonic material. Curiously enough, one of the more restrained feats of progressive metallic thunder follows a brief instrumental exposition that sees Steinhauer flexing his classical guitar chops on "Grief", though the subsequent speed metal fest "Those Who Resist" is about as aggressively charged as most of the previously noted thrashers, after an extended build up from its melodic intro, that is. On the other hand, the more mid-paced power thrasher of a title entry "Mysterium" opts for a brief atmospheric intro before laying on the percussive riffage, and even then one can't help but note that the vocal hooks drive the song and the most impactful moment is the ultra-infectious chorus section, accompanied by a melancholy acoustic line to go with the layering of distorted chords. Towards the end of the album the tried and true tendency of cooking at full speed and asking questions later resumes, yet the massive 7 minute slay fest "The Demon God" proves masterful at finding plenty of contrasting means of pummeling the airwaves to justify its length. The closing hurrah "Within The Realms Of Gray" leaves things with a jarring twist, opting for one of the most mixed up blends of melodic splendor, crushing riff work and progressive shifts in feel and atmosphere to ever occur in the subgenre outside of Jeff Waters' more outlandish musings.

There was just about nowhere to go but down following the colossal achievement that was Heresy II: End Of A Legend, but there are also few other ways to have taken an ever so slight and respectable step down into almost equally compelling territory as was accomplished with Mysterium. Considering the circumstance surrounding it, this album could arguably be seen as the project's greatest triumph in spite of being more towards the middle tier of an extremely impressive catalog, and it must be stressed that Paradox's version of middle tier is still a cut above most. In spite of an ongoing upswing of activity in the underground thrash metal world, this is a sound that has little difficulty standing out from the legions of revivalist acts that are still cropping up like weeds from South America to Asia, and proves that staying in one's comfort zone doesn't necessarily mean ceasing to be inventive and that the stiffest competition is usually against one's own past accomplishments. It's a bittersweet sendoff to an old friend and consequential contributor to the metal world, but it's also the sort of album that is explosive enough to send any thrash fanatic into a moshing rage while giving the power and progressive enthusiasts something to talk about.

hells unicorn



..::TRACK-LIST::..

1. Kholat 06:05
2. Abyss of Pain and Fear 07:28
3. Grief 01:13
4. Those Who Resist 05:49
5. One-way Ticket to Die 05:12
6. Pile of Shame 05:00
7. Tunguska 01:17
8. Fragrance of Violence 05:38
9. Mysterium 06:30
10. The Demon God 07:06

Bonus Track:
11. Within the Realms of Gray 6:11



..::OBSADA::..

Charly Steinhauer - Vocals, Guitars, Bass, Drum programming, Songwriting



https://www.youtube.com/watch?v=nw7KaA6RxjQ


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

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


..::OPIS::..

44 lata działalności, 9 albumów i wierna rzesza fanów. Niemiecki Paradox to dobrze znana marka wśród maniaków speed/thrash metalu z domieszką power metalu. Na swoim koncie mają kilka znakomitych płyt, takich jak Heresy czy Pangea. Teraz Charly Steinhauer powraca z nowym krążkiem zatytułowanym Mysterium, którego premiera zaplanowana jest na 26 września 2025 roku nakładem High Roller Records.

Choć niegdyś Paradox był pełnoprawnym zespołem, dziś to właściwie jednoosobowy projekt – za wszystko odpowiada Steinhauer. Trudno jednak mówić tu o jakimkolwiek problemie, ponieważ Charly to muzyk wszechstronny i utalentowany. Na Mysterium serwuje słuchaczom charyzmatyczne partie wokalne, ciekawe melodie i wyraziste motywy gitarowe, dzięki czemu naprawdę nie ma powodów do narzekań.

Pod względem jakości to zdecydowanie krok naprzód w porównaniu z Heresy II – śmiało można stwierdzić, że to jeden z najlepszych albumów w dorobku Paradox. Na wyróżnienie zasługuje również klimatyczna okładka oraz potężne, selektywne brzmienie, które dodaje całemu materiałowi siły i wyrazistości. Sama grafika idealnie wpisuje się w estetykę zespołu, ale jak zawsze – najważniejsza jest muzyka.

Album zawiera 11 utworów. Już otwierający go, rozpędzony "Kholat", pokazuje geniusz Charliego – agresywny riff, szybkie tempo i bezkompromisowa energia czynią z niego jeden z najmocniejszych punktów płyty. Taki Paradox uwielbiamy!

Kolejny mocny akcent to rozbudowany, pełen nieoczywistych rozwiązań "Abyss of Pain and Fear" – siedem minut doskonale wyważonej mieszanki thrashu i power metalu, które mijają w mgnieniu oka.

Dalej robi się jeszcze ciekawiej – progresywny i zróżnicowany "Those Who Resist", brutalny "One Way Ticket to Die", który doskonale oddaje ducha niemieckiego thrashu, czy kolejny energetyczny cios – "Fragrance of Violence" – to numery, które aż kipią od metalowej pasji i technicznej precyzji.

Tytułowy "Mysterium" wyróżnia się atmosferą i kompozycyjną finezją, a "The Demon God" to kolejna bezlitosna thrashowa petarda, która nie pozostawia miejsca na wytchnienie.

Całość wieńczy melodyjny, pełen detali "Within the Realms of Grey" – doskonałe zakończenie intensywnej, przemyślanej podróży przez świat Paradox.

Zespół – a właściwie Charly Steinhauer – powraca w wielkim stylu z albumem godnym swojej legendy. Mysterium to potężna dawka thrashu, podlana heavy/power metalowym sosem, pełna znakomitych kompozycji i muzycznego ognia. Bez wątpienia jedna z najciekawszych płyt w ich dorobku – warto czekać na premierę!

PMW


This album is dedicated to Axel Blaha (1964-2023), co-founder of PARADOX (R.I.P.)

“Mysterium” is the ninth studio album by German thrash metal institution Paradox and marks a special milestone in the band’s 44-year history, as founder and mastermind Charly Steinhauer not only played all the instruments and sang, but also handled the production entirely on his own.
“I'm capable of it,” he explains. “Everything you hear on the album, I played. I programmed the drums, but it sounds like a real drummer played them at the highest level. I worked on it day and night until everything was perfect.” Only the mastering was left to Patrick W. Engels competent hands.
The songs on “Mysterium” are thematically linked, without it being a classic concept work. The lyrics – which, as on ‘Tales of the Weird’ (2012) and ‘Pangea’ (2016), were written by Achim “Dax” Hömerlein (ex-Vendetta) – revolve around mystical stories and world events that have personally moved Steinhauer. Songs like ‘Abyss of Pain and Fear’ (inspired by the movie “Midnight Express”), the instrumental ‘Grief’ (a tribute to co-founder Axel Blaha, who died in 2023) or the title track (about dream interpretation) thus form a common thread.
The cover art, created by Travis Smith (Opeth Death, et al.), picks up on the theme of the title track and shows a sleepwalking woman. “I didn’t want any skulls or other clichéd things,” says Steinhauer. “It’s more reminiscent of a horror film.” In his own estimation, “Mysterium” is the strongest Paradox album to date: “It became my favourite alongside ‘Heresy’ from 1989. The songs all have their own identity, are catchy, and when the album is over, I want to listen to it again straight away.”
The bandleader does not rule out concerts for “Mysterium”, but his focus remains on studio productions. In fact, he is already thinking about a follow-up album. “I’m a fan of music myself, and CDs or LPs are what I remember, of course in connection with some of the concerts I’ve attended. That is why I need new music, also from myself. And eventually, I want to not have released one single album that has been poorly rated.”



Though the idea of any thrash-adjacent musical affair, even of the more progressive persuasion, having a mysterious bent to it seems extremely counterintuitive; the best way to understand the more than 40 years running Teutonic machine that is Paradox is enigmatic. Not so much in the sense that the music offered up under said moniker defies all convention, but definitely in that it sits almost perfectly in that stylistic no man's land that lies between melodic, progressive and extreme metal; committing to none of them completely yet showing clear tendencies towards the thrashing side of the equation. When considering the mixed approach of fellow German contemporaries like Iron Angel and Angel Dust, one can easily see a heavy bent towards the upcoming shift towards the power metal wave ushered in by Helloween's Keeper Of The Seven Keys albums, but even the old time power thrashing majesty of 1987's Product Of Imagination was of a different persuasion that maybe carried a few hints of the more melodic strain of metal that was afoot, but was gunning for something darker and more nuanced. The subsequent pivots to a more thrash-infused sonic paradigm on 1989's Heresy and their 2000s post-reunion would see this tendency become more pronounced, though even by the dawn of the 2020s it would continue to allot for a melodic character that remained atypical in relation to the rest of the thrash scene and in line with where things began for them in the mid-80s.

In relation to an extensive career now spanning 10 albums when including the unearthing of the lost 3rd album Rearrange The Past the previous year, 2025's Mysterium offers few in the way of changes apart from band founder guitarist/vocalist Charly Steinhauer effectively morphing Paradox into a one-man outfit. The drawn out blends of neck-destroying speed/thrash riff assaults and dreary atmospheric introductory and go-between segments that has typified its modus operandi since 2000's Collision Course remain firmly in place, dogged by technically-charged lead breaks (now being handled exclusively by Steinhauer) and an almost earworm approach to chorus hooks that is uncommon to the lion's share of thrash outfits, be they Teutonic or otherwise. The use of a drum machine in the face of the untimely passing of drummer and co-founder Alex Blaha feels strangely appropriate given that the moribund character of the album's music and recurring theme of death and suffering suggests that his ghost endures amid the frenzy of rapid-fire beats, and ultimately comes off as organic despite being 100% synthetic. From the dense arrangements and elaborate sectional transitions to Charly's gruffy yet tuneful vocal attack, the whole thing just works as a cohesive outfit that listens more like a full band than a lone wolf emulating one in the studio.

Compared to the gargantuan fit of conceptual storytelling that was 2021's Heresy II: End Of A Legend, this is Paradox's version of getting back to basics, which means an album that is still loaded with detailing at the periphery, but comparatively more focused on biting thrashers delivered with reckless abandon. Though clocking in at over 6 minutes and frontloaded with an extended atmospheric exposition that paints the same misty forest landscape with sound that adorns the cover, the opening foray "Kholat" slams the pedal to the proverbial metal like best of the 80s Bay Area just landed in Bavaria. A similar story with more technical bells and whistles emerges in the high octane crusher "Abyss Of Pain And Fear", laying down the speed-thrashing mayhem like it's going out of style and landing one of the most brilliantly realized breakdown segments before Steinhauer lights up his fret board with a truly spellbinding guitar solo cacophony. Among the other blazing speeders to break the sound barrier while clocking in a tad shorter include "One Way Ticket To Die" and "Fragrance Of Violence", with Charly's signature vertabrae-destroying riff work continually ruling the roost and occasionally making way for eclectic contrast points of a softer persuasion.

Granted, Paradox has never lived by pit-exploding thrash alone, and alongside the Bay Area-inspired carnage with a tall side order of genre-defying interludes is a healthy share of more nuanced sonic material. Curiously enough, one of the more restrained feats of progressive metallic thunder follows a brief instrumental exposition that sees Steinhauer flexing his classical guitar chops on "Grief", though the subsequent speed metal fest "Those Who Resist" is about as aggressively charged as most of the previously noted thrashers, after an extended build up from its melodic intro, that is. On the other hand, the more mid-paced power thrasher of a title entry "Mysterium" opts for a brief atmospheric intro before laying on the percussive riffage, and even then one can't help but note that the vocal hooks drive the song and the most impactful moment is the ultra-infectious chorus section, accompanied by a melancholy acoustic line to go with the layering of distorted chords. Towards the end of the album the tried and true tendency of cooking at full speed and asking questions later resumes, yet the massive 7 minute slay fest "The Demon God" proves masterful at finding plenty of contrasting means of pummeling the airwaves to justify its length. The closing hurrah "Within The Realms Of Gray" leaves things with a jarring twist, opting for one of the most mixed up blends of melodic splendor, crushing riff work and progressive shifts in feel and atmosphere to ever occur in the subgenre outside of Jeff Waters' more outlandish musings.

There was just about nowhere to go but down following the colossal achievement that was Heresy II: End Of A Legend, but there are also few other ways to have taken an ever so slight and respectable step down into almost equally compelling territory as was accomplished with Mysterium. Considering the circumstance surrounding it, this album could arguably be seen as the project's greatest triumph in spite of being more towards the middle tier of an extremely impressive catalog, and it must be stressed that Paradox's version of middle tier is still a cut above most. In spite of an ongoing upswing of activity in the underground thrash metal world, this is a sound that has little difficulty standing out from the legions of revivalist acts that are still cropping up like weeds from South America to Asia, and proves that staying in one's comfort zone doesn't necessarily mean ceasing to be inventive and that the stiffest competition is usually against one's own past accomplishments. It's a bittersweet sendoff to an old friend and consequential contributor to the metal world, but it's also the sort of album that is explosive enough to send any thrash fanatic into a moshing rage while giving the power and progressive enthusiasts something to talk about.

hells unicorn



..::TRACK-LIST::..

1. Kholat 06:05
2. Abyss of Pain and Fear 07:28
3. Grief 01:13
4. Those Who Resist 05:49
5. One-way Ticket to Die 05:12
6. Pile of Shame 05:00
7. Tunguska 01:17
8. Fragrance of Violence 05:38
9. Mysterium 06:30
10. The Demon God 07:06

Bonus Track:
11. Within the Realms of Gray 6:11



..::OBSADA::..

Charly Steinhauer - Vocals, Guitars, Bass, Drum programming, Songwriting



https://www.youtube.com/watch?v=nw7KaA6RxjQ


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

..::INFO::..

Everlast wydał w 2026 roku "Embers to Ashes" - ósmy album i pierwszy od ośmiu lat; nieskazitelną, refleksyjną kolekcją, która oddaje życie charakteryzujące się ciężko zdobytymi lekcjami, nagłymi zwrotami i chwilami triumfu i straty. Wyprodukowany przez Yelawolfa, zmiksowany przez Chrisa Lord-Alge'a i nagrany w Nashville z pomocą autora piosenek Davida Raya (Jelly Roll, Teddy Swims), album pokazuje go bardziej nieustraszonego i emocjonalnie bezpośredniego niż kiedykolwiek wcześniej. Everlast jest dobrze znany. Nie chodzi tylko o to, że nagrał jeden z największych hip-hopowych hitów w historii - "Jump Around" z 1992 roku z House of Pain - lub że stworzył hymn empatii "What It's Like" ze swojego potrójnie platynowego albumu "Whitey Ford Sings the Blues". Nie chodzi o nominacje do Grammy czy wygraną z Santaną. Chodzi o sposób, w jaki na nowo zdefiniował związek rapu z bluesem i rockiem oraz o człowieczeństwo, które zawsze wnosił do tego brzmienia. Przez ponad trzy dekady dokumentował życie tak, jak je przeżywał - od pokornych wzlotów po druzgocące upadki - a na "Embers to Ashes" ta perspektywa jest głębsza niż kiedykolwiek wcześniej.

Title: Embers To Ashes

Artist: Everlast

Country: USA

Year: 2026

Genre: Alternatywna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. Losing Man's Game
2. Never Coming Home
3. Mistaken Identity
4. My Hollywood
5. Broken Heart For Hire
6. Stones
7. Out of Your Way
8. Lies
9. Rubber Bullets
10. Every Dog Has Its Day
11. Ain't Coming Home Tonight
12. Love Don't Heal
13. Embers To Ashes
14. 1987
15. Happy You Can Cry
16. Peace of Mind
17. Young Man