...( Info )...

Artist: Kajagoogoo And Limahl
Album: Too Shy - The Singles And More
Genre: New Wave / Synth-Pop
Media: CD
Country of release: Holland
Year of release: 1993
Country of artist (band): UK
Audio codec: FLAC (*.flac)
Rip type: tracks+.cue
Duration: 01:14:07
Source: Own rip


...( TrackList )...

01 - Too Shy
02 - Ooh To Be Ah
03 - Hang On Now
04 - Big Apple
05 - The Lion's Mouth
06 - Turn Your Back On Me
07 - Shouldn't Do That
08 - Only For Love
09 - Too Much Trouble
10 - Never Ending Story
11 - Love In Your Eyes
12 - Inside To Outside
13 - Too Shy (Midnight Mix)
14 - Hang On Now (Extended Mix)
15 - Turn Your Back On Me (Extended Mix)
16 - Only For Love (12'' Mix)
17 - Never Ending Story (12'' Mix)

...( Info )...

Artist: Madis
Album: Reflecte
Genre: Electronic, Ambient
Artist (band) Country: Poland
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 41.17
Contains scans in the download: No


...( TrackList )...

1. Silent Echoes 03:49
2. Whispers From Behind 08:51
3. Mentes Determinadas (with Kebu) 07:56
4. Burning Sands 04:51
5. Arcadia 07:48
6. Distante (with Justyna Bujak & Jacek Królik) 05:43
7. Moments Eternal 04:19

...( Info )...
OldiesPart006
⭐MP3@320kbps

...( TrackList )...
VA - Hollywood Rocks [2005] (4 x CDs)

VA - Pink Boots and Lipstick, Rare Glam and Bubblegum from the 70s [2016-2023] (19 x CDs)

VA - The 100 Greatest Hair Metal Songs of All Time (Super Deluxe Edition) [2021] (6 x CDs)

TRACKLISTA:

1. Uciekaj!
2. Żółć Feat. Pih
3. Madonna
4. Grudzień
5. Cień
6. Mięso
7. Tak Bywa


DANE TECHNICZNE:

Wielkość uploadu: 51,3 MB
Format/Kodek: Mp3

TRACKLISTA:

1. Raz się żyje
2. Jak poznałem waszą matkę
3. Per pan
4. Nie marudź
5. Ale Feat. Kinga Hornik
6. Wracam do domu


DANE TECHNICZNE:

Wielkość uploadu: 41,6 MB
Format/Kodek: Mp3

TRACKLISTA:

1. Intro Feat. DJ Wiśnia
2. Dwa światy Feat. W.E.N.A., Dj Chederac
3. Omen Feat. Dj Chederac
4. PF GROOB
5. Głos podziemia Feat. DJ Ph, DJ Bulb
6. HHZ skit
7. Shinpū Feat. RakRaczej, DJ Wiśnia
8. Pustynia Feat. Eldo
9. Leszy prod. JF
10 Outro Feat. DJ Wiśnia


DANE TECHNICZNE:

Wielkość uploadu: 61,2 MB
Format/Kodek: Mp3

..::INFO::..

I Love My Computer to debiutancki album studyjny australijskiego DJ-a i producenta muzyki elektronicznej Ninajirachi. Album ukazał się 8 sierpnia 2025 roku.

Title: I Love My Computer

Artist: Ninajirachi

Country: Australia

Year: 2025

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

A1.London Song
A2.iPod Touch
A3.Fuck My Computer
A4.CSIRAC
A5.Delete
A6.ฅ^•ﻌ•^ฅ
B1.All I Am
B2.Infohazard
B3.Battery Death
B4.Sing Good
B5.It's You (feat. Daine)
B6.All At Once

...( Info )...
Genre: Melodic Death/Doom Metal
Country of Artist (Band): South Africa
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 01:13:48

...( TrackList )...
01. As The Kingdom Withers
02. Scarlet Sacrilege
03. Daylight Fades
04. Burn The Spiral
05. Ashes
06. Drowned In Darkness
07. Haunting The Valley
08. Stellar Ruse
09. One Last Time
10. Age Of The Scourge
11. Restricted
12. Passing (Instrumental)

...( Info )...
Genre: Experimental/Technical Death Metal/Jazz
Country of Artist (Band): Slovakia
Year of Release: 2025
Audio Codec: MP3
Rip Type: tracks
Audio Bitrate: 320 kbps
Duration: 42:52

...( TrackList )...
01. Algorithms Of Hate
02. Marble
03. Walpurgas
04. Five Senses
05. Paved By Slaves
06. Chains Of Tradition
07. When Less Is More
08. Limits Of Introspection
09. Disparity
10. Nocturnal Shredding
11. Nocturnal Lounge

...( Info )...
Genre: Death Metal
Country of Artist (Band): Colombia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 40:25

...( TrackList )...
01. El Demonio En El Sur
02. El Rugido De Los Andes
03. Transmutación Cósmica Psicotrópica
04. El Dorado (Edgar Allan Poe Poem)
05. La Peste Blanca
06. La Salvaje Esperanza (Gonzalo Arango Poem)
07. Verdadera Misantropía
08. Cortejo Fúnebre (Masacre cover)
09. La Labor Mesiánica (re-recorded)
10. Devastación Infernal (re-recorded)

...( Info )...
Genre: Death Metal
Country of Artist (Band): USA
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 45:41

...( TrackList )...
1. Death's Divination
2. Left Hand Pagan
3. Chernobog
4. Winter Spell
5. Chaos Born
6. Pagan Horde
7. Awaken
8. Native Land's Tears
9. Trample the Cross

...( Info )...

Artist: VA
Title: Super Hits 80's [01-05]
Year: 1996-1998
Genre: Pop, Europop, Disco
Duration: 06:03:25
Format/Codec: MP3
Audio Bitrate: 320kbps


...( TrackList )...

1996 - Super Hits 80's Volume 1
01. Boney M. - Happy Song
02. Modern Talking - Atlantis Is Calling (S.O.S. For Love)
03. Kelly Family - Who'll Come With Me (David's Song)
04. Spagna - Call Me
05. Trio - Da Da Da Ich Lieb Dich Nicht Du Liebst Mich Nicht Aha Aha Aha
06. Aneka - Little Lady
07. Righeira - Vamos A La Playa
08. Milli Vanilli - Girl You Know It's True
09. Goombay Dance Band - Eldorado
10. Fancy - Slice Me Nice
11. Koreana - Hand In Hand
12. Ottawan - Hands Up (Give Me Your Heart)
13. Chris Norman - Midnight Lady
14. Blue System - My Bed Is Too Big
15. Lisa Stansfield - All Around The World
16. Donna Summer - This Time I Know It's For Real
17. C.C.Catch - Strangers By Night
18. Camouflage - Love Is Shield
19. Salt'N'Pepa - Push It (12''Version)

1997 - Super Hits 80's Volume 2
01. Chilly - We Are The Popkings
02. Taco - Puttin' On The Ritz
03. Toto Cutugno - L'italiano
04. Fine Young Cannibals - She Drives Me Crazy
05. Billy Idol - Flesh For Fantasy
06. Lobo - The Caribbean Disco Show
07. Erasure - Sometimes
08. Secret Service - 10 O'clock Postman
09. Electronica's - Dance Little Bird
10. Al Bano & Romina Power - Felicita
11. Technotronic feat. Felly - Pump Up The Jam
12. Jimmy Somerville with June Miles Kingston - Comment Te Dire Adieu
13. Odyssey - Use It Up And Wear It Out
14. Ricchi E Poveri - Sara Perche Ti Amo
15. Huey Lewis And The News - Heart And Soul
16. Big Fun - Blame It On The Boogie
17. Saragossa Band - Buona Sera (I Take My Chance Tonight)
18. Opus - Live Is Life

1997 - Super Hits 80's Volume 3
01. Laid Back - Sunshine Reggae
02. Mel & Kim - F.L.M.
03. Baltimora - Tarzan Boy
04. Rick Astley - Never Gonna Give You Up
05. David Hasselhoff - Looking For A Freedom
06. Saragossa Band - Agadou
07. Julian Lennon - Too Late For Goodbyes
08. Jody Watley - Looking For A New Love
09. Animotion - Obsession
10. Cars - Drive
11. Samantha Fox - Touch Me
12. Modern Talking - You're My Heart, You're My Soul
13. Boytronic - You
14. Leon Haywood - Don't Push It, Don't Force It
15. Pepsi & Shirlie - Goodbye Stranger
16. Kajagoogoo - Too Shy
17. Nik Kershaw - The Riddle
18. David Lee Roth - Just A Gigolo/I Ain't Got Nobody
19. Kid Creole & The Coconuts - The Lifeboat Party

1997 - Super Hits 80's Volume 4
01. Sandra - Maria Magdalena
02. Survivor - Eye Of The Tiger
03. Bananarama - Venus
04. A La Carte - Ring Me, Honey
05. Agnetha Faltskog - The Heat Is On
06. Al Bano & Romina Power - Sharazan
07. Michel Cretu - Samurai
08. Diana Ross - Upside Down
09. Ryan Paris - Dolce Vita
10. Jermaine Stewart - Say It Again
11. Texas - I Don't Want A Lover
12. Hazel Dean - Searchin'
13. French Ecstasy - Liz And Jack (Push It)
14. Billy Idol - Rebel Yell
15. Captain Sensible - Wot!
16. Visage - Fade To Gray
17. Bryan Ferry - Don't Stop The Dance
18. Aretha Franklin - Jumpin' Jack Flash

1998 - Super Hits 80's Volume 5
01. Bucks Fizz - Making Your Mind Up
02. Tears For Fears - Shout
03. Duran Duran - The Wild Boys
04. Shakatak - Easier Said Than Done
05. Limahl - Neverending Story
06. Jimmy Somerville - You Make Me Feel (Mighty Real)
07. Glen Medeiros - Nothing's Gonna Change My Love For You
08. Laid Back - Bakerman
09. Quincy Jones - Ay No Corrida
10. Daryl Hall & John Oates - Maneater
11. Curiosity Killed The Cat - Misfit
12. Yazz - The Only Way Is Up
13. Kim Wilde - You Came
14. Was (Not Was) - Walk The Dinosaur
15. Sonia - You'll Never Stop Me Loving You
16. Ray Parker Jr. - (I Still Can't Get Over) Loving You
17. Tiffany - I Think We're Alone Now
18. Five Star - System Addict

...( Info )...
Artist: The Kinks
Album: The Journey - Part 1, 2, 3
Country: UK
Label: BMG Rights Management (UK) Limited
Release Date: 2023,2023,2025
Genre: Pop Rock, Rock
Format: MP3
Bitrate: 320 kbps
https://thekinks.info/

...( TrackList )...
2023. The Journey - Pt. 1
01 You Really Got Me [00:02:13]
02 All Day and All of the Night [00:02:22]
03 It's All Right [00:02:36]
04 Who'll Be the Next In Line [00:02:01]
05 Tired of Waiting for You [00:02:31]
06 Dandy [00:02:10]
07 She's Got Everything [00:03:08]
08 Just Can't Go to Sleep [00:01:59]
09 Stop Your Sobbing [00:02:05]
10 Wait Till the Summer Comes Along [00:02:06]
11 So Long [00:02:08]
12 I'm Not Like Everybody Else [00:03:29]
13 Dead End Street [00:03:23]
14 Wonderboy [00:02:50]
15 Schooldays [00:03:32]
16 The Hard Way [00:02:35]
17 Mindless Child of Motherhood [00:03:16]
18 Supersonic Rocket Ship [00:03:29]
19 I'm in Disgrace [00:03:22]
20 Do You Remember Walter [00:02:25]
21 Too Much On My Mind [00:02:28]
22 Nothin' In the World Can Stop Me Worryin' 'Bout That Girl [00:02:45]
23 Days [00:02:53]
24 Last of the Steam-Powered Trains [00:04:09]
25 Where Have All the Good Times Gone [00:02:49]
26 Strangers [00:03:20]
27 It's Too Late [00:02:35]
28 Sitting in the Midday Sun [00:03:45]
29 Waterloo Sunset [00:03:14]
30 Australia [00:06:44]
31 No More Looking Back [00:04:27]
32 Death of a Clown [00:03:03]
33 Celluloid Heroes [00:06:19]
34 Act Nice and Gentle [00:02:40]
35 This Is Where I Belong [00:02:25]
36 Shangri-La [00:05:20]

2023. The Journey - Pt. 2
01 Till the End of the Day (2023 Remaster) [00:02:19]
02 Preservation (2023 Remaster) [00:03:36]
03 David Watts (2023 Remaster) [00:02:29]
04 This Time Tomorrow (Alternate Take, 2020 Mix _ 2020 - Remaster) [00:03:13]
05 A Well Respected Man (2023 Remaster) [00:02:41]
06 Monica (2018 Stereo Remaster) [00:02:18]
07 Scrapheap City (2023 Remaster) [00:03:16]
08 He's Evil (2023 Remaster) [00:03:22]
09 Lola (2020 Stereo Remaster) [00:04:02]
10 Sunny Afternoon (2023 Remaster) [00:03:32]
11 Animal Farm (2018 Stereo Remaster) [00:03:01]
12 Creeping Jean (2023 Remaster) [00:03:13]
13 Two Sisters (2023 Remaster) [00:02:00]
14 See My Friends (2023 Remaster) [00:02:43]
15 Money Talks (2023 Mix) [00:03:51]
16 No Return (2023 Remaster) [00:02:00]
17 Don't You Fret (2023 Remaster) [00:02:43]
18 I Need You (2023 Remaster) [00:02:23]
19 Rainy Day in June (2023 Remaster) [00:03:06]
20 Dedicated Follower of Fashion (2023 Remaster) [00:03:01]
21 Where Are They Now_ (2023 Mix) [00:03:32]
22 Wicked Annabella (2018 Stereo Remaster) [00:02:45]
23 Alcohol (2022 Remaster) [00:03:37]
24 Susannah's Still Alive (2023 Remaster) [00:02:18]
25 20th Century Man (2022 Remaster) [00:05:39]
26 Sitting By the Riverside (2018 Stereo Remaster) [00:02:26]
27 Artificial Man (2023 Mix) [00:05:29]
28 New Victoria Suite - Everybody's a Star (Starmaker) (Live 1975; 2023 Mix) [00:03:28]
29 New Victoria Suite - Slum Kids (Live 1975; 2023 Mix) [00:04:25]
30 New Victoria Suite - (A) Face in the Crowd (Live 1975; 2023 Mix) [00:02:52]
31 Holiday Romance (2023 Remaster) [00:03:11]
32 Big Sky (2018 Stereo Remaster) [00:02:52]
33 Lincoln County [00:03:19]
34 God's Children (2023 Remaster) [00:03:17]

2025. The Journey - Pt. 3
01 Catch Me Now I'm Falling (2025 Remaster) [00:04:13]
02 (Wish I Could Fly Like) Superman (2025 Remaster) [00:03:36]
03 A Rock 'n' Roll Fantasy (2025 Remaster) [00:05:02]
04 Sleepwalker (2025 Remaster) [00:04:03]
05 Living on a Thin Line (2025 Remaster) [00:04:10]
06 Come Dancing (2025 Remaster) [00:03:56]
07 Around the Dial (2025 Remaster) [00:04:46]
08 Do It Again (2025 Remaster) [00:04:11]
09 Better Things (2025 Remaster) [00:03:00]
10 Destroyer (2025 Remaster) [00:03:46]
11 Low Budget (2025 Remaster) [00:03:51]
12 Misfits (2025 Remaster) [00:04:41]
13 One of Our DJs Is Missing (Live at the Royal Albert Hall, 1993) [00:02:13]
14 Till the End of the Day (Live at the Royal Albert Hall, 1993) [00:02:13]
15 Where Have All the Good Times Gone (Live at the Royal Albert Hall, 1993) [00:02:46]
16 Low Budget (Live at the Royal Albert Hall, 1993) [00:04:49]
17 Apeman (Live at the Royal Albert Hall, 1993) [00:02:02]
18 Phobia (Live at the Royal Albert Hall, 1993) [00:03:40]
19 Only a Dream (Live at the Royal Albert Hall, 1993) [00:04:49]
20 Scattered (Live at the Royal Albert Hall, 1993) [00:03:27]
21 Celluloid Heroes (Live at the Royal Albert Hall, 1993) [00:05:29]
22 I'm Not Like Everybody Else (Live at the Royal Albert Hall, 1993) [00:06:30]
23 Dedicated Follower of Fashion (Live at the Royal Albert Hall, 1993) [00:01:49]
24 The Informer (Live at the Royal Albert Hall, 1993) [00:03:50]
25 Death of a Clown (Live at the Royal Albert Hall, 1993) [00:01:22]
26 Sunny Afternoon (Live at the Royal Albert Hall, 1993) [00:02:12]
27 You Really Got Me (Live at the Royal Albert Hall, 1993) [00:02:44]
28 Days (Live at the Royal Albert Hall, 1993) [00:03:27]

...( Info )...

Artist...............: The Verve
Album................: This Is Music: The Singles
Genre................: Rock
Year.................: 2004
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. The Verve - This Is Music (Remastered 2016)
002. The Verve - Slide Away (Remastered 2016)
003. The Verve - Lucky Man (Remastered 2016)
004. The Verve - History (Remastered 2016)
005. The Verve - She's A Superstar (Remastered 2016)
006. The Verve - On Your Own (Remastered 2016)
007. The Verve - Blue (Remastered 2016)
008. The Verve - Sonnet (Remastered 2016)
009. The Verve - All In The Mind (Remastered 2016)
010. The Verve - The Drugs Don't Work (Remastered 2016)
011. The Verve - Gravity Grave (Remastered 2004)
012. The Verve - Bitter Sweet Symphony (Remastered 2016)
013. The Verve - Love Is Noise
014. The Verve - Rather Be

...( Info )...

Artist...............: The Verve
Album................: This Is Music: The Singles 92-98
Genre................: Rock
Year.................: 2004
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. The Verve - This Is Music (Remastered 2004)
002. The Verve - Slide Away (Remastered 2004)
003. The Verve - Lucky Man (Remastered)
004. The Verve - History (Remastered 2004)
005. The Verve - She's A Superstar (Remastered 2004)
006. The Verve - On Your Own (Remastered 2004)
007. The Verve - Blue (Remastered 2004)
008. The Verve - Sonnet (Remastered 2004)
009. The Verve - All In The Mind (Remastered 2004)
010. The Verve - The Drugs Don't Work (Remastered 2004)
011. The Verve - Gravity Grave (Remastered 2004)
012. The Verve - Bitter Sweet Symphony
013. The Verve - This Could Be My Moment (Remastered 2004)
014. The Verve - Monte Carlo

...( Info )...

Artist: VA
Title: History Of Italo & Euro House
Year: 2025
Genre: Italo House, Euro House, Italodance
Duration: 2:14:27
Format/Codec: FLAC
Audio Bitrate: Lossless


...( TrackList )...

01 Rozalla - Everybody's Free (To Feel Good) (Original Mix) 6:27
02 Taleesa - I Found Luv (Time Mix) 5:08
03 Cappella - U Got 2 Let The Music 5:48
04 U.S.U.R.A. - Open Your Mind (Classic Mix) 05:18
05 The 49ers - Touch Me (Sexual Version) 05:54
06 Corrado - Trust (Pink Mix) 05:43
07 Neja - Restless (Bum Bum Club Mix) 05:27
08 Anticappella feat. Mc Fixx It - Move Your Body (Mars Plastic Mix) 06:36
09 Fargetta - The Music Is Movin' (Mars Plastic Remix) 06:33
10 DJ Miko - What's Up (Club Edit) 04:51
11 Club House feat. Carl - Light My Fire (Noisy Clouds Mix) 04:57
12 El Chico - House Music Lovers (Original) 04:53
13 Alex Party - Don't Give Me Your Life (Original Mix) 05:11
14 Francesco Zappala - Now Way Out (Extended Mix) 06:09
15 The 49ers feat. Ann Marie Smith - Move Your Feet (Extended House Mix) 06:10
16 Molella - Change (Original Mix) 04:56
17 D.J. Pierre - Move Your Body (Extended Version) 05:31
18 Jinny - Keep Warm (Extended Mix) 05:49
19 Lee Marrow - Do You Want Me (Extended Version) 06:11
20 Bacon Popper - Free (Smoked Mix) 05:12
21 Italian Boy feat. D.J. Atomico "Herbie" - Atomic House (Remix) 07:48
22 J.T. & The Big Family - Moments In Soul (Origianl Version) 03:33
23 4for Money - It's A Moment In Time (Club Version) 05:19
24 Invisible Experience - Dreaming On A Better World (Duracell Mix) 05:01

...( Info )...

Artist: Electro Swing Radio
Album: Swingin' Into Christmas
Genre: Electro Swing, Jazz
Publication: Watershed Records
Source: link
Duration: 00:58:55
Audio: FLAC, Lossless|WEB-DL
Rip type: tracks

...( TrackList )...

01. Swingin' Sleigh Ride (Christmas Electro Swing Music) (1:56)
02. Santa's Swing Parade (Christmas Electro Swing Music) (1:31)
03. Snowman Shuffle (Christmas Electro Swing Music) (1:41)
04. Candy Cane Charleston (Christmas Electro Swing Music) (1:39)
05. Christmas Morning Cocoa (Christmas Electro Swing Music) (1:47)
06. Reindeer Ride (Christmas Electro Swing Music) (2:27)
07. We Met Under Mistletoe (Christmas Electro Swing Music) (1:51)
08. Twinkle Town Stomp (Christmas Electro Swing Music) (1:33)
09. Where'd That Snowman Go (Christmas Electro Swing Music) (2:06)
10. North Pole Nights (Christmas Electro Swing Music) (2:11)
11. Eggnog Sippin' (Christmas Electro Swing Music) (1:56)
12. Merry & Bright (Christmas Electro Swing Music) (2:02)
13. Christmas Eve Excite (Christmas Electro Swing Music) (2:05)
14. Krampus Got His Way (Christmas Electro Swing Music) (1:44)
15. Cozy in December (Christmas Electro Swing Music) (1:57)
16. Wintertime Lovers (Christmas Electro Swing Music) (2:24)
17. Joy of the Season (Christmas Electro Swing Music) (2:20)
18. Hope is Born (Christmas Electro Swing Music) (1:44)
19. Cozy Hearts Club (Christmas Electro Swing Music) (1:50)
20. First Snow Swing (Christmas Electro Swing Music) (2:02)
21. Star Over the Stable (Christmas Electro Swing Music) (2:11)
22. Little Candle Swing (Christmas Electro Swing Music) (1:50)
23. Santa Landed Downtown (Christmas Electro Swing Music) (1:32)
24. Up to Our Toes in Snow (Christmas Electro Swing Music) (2:02)
25. Hot Buttered Swing (Christmas Electro Swing Music) (1:48)
26. Holiday Hideaway (Christmas Electro Swing Music) (2:11)
27. Cinnamon Swingtime (Christmas Electro Swing Music) (1:28)
28. Toast to Tomorrow (Christmas Electro Swing Music) (1:40)
29. It Snowed in California (Christmas Electro Swing Music) (1:50)
30. Candy Cane Kisses (Christmas Electro Swing Music) (1:41)
31. Frosted Sugar Swing (Christmas Electro Swing Music) (1:57)

...( Info )...

Artist: Madonna
Title: MDNA (Deluxe)
Year: 2012/2026
Genre: Electronic, Pop
Style: Dance-pop, Europop, Electro House, Electro, Techno, Ballad
Publisher (label): Warner Records

Duration: 01:13:21
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/44.1 kHz


...( TrackList )...

01. Girl Gone Wild (00:03:43)
02. Gang Bang (00:05:26)
03. I'm Addicted (00:04:34)
04. Turn Up the Radio (00:03:47)
05. Give Me All Your Luvin' (feat. Nicki Minaj & M.I.A.) (00:03:23)
06. Some Girls (00:03:54)
07. Superstar (00:03:55)
08. I Don't Give A (feat. Nicki Minaj) (00:04:19)
09. I'm A Sinner (00:04:52)
10. Love Spent (00:03:45)
11. Masterpiece (00:03:58)
12. Falling Free (00:05:13)
13. Beautiful Killer (00:03:49)
14. I Fucked Up (00:03:28)
15. B-Day Song (feat. M.I.A.) (00:03:34)
16. Best Friend (00:03:19)
17. Love Spent (Acoustic) (00:04:24)
18. Masterpiece (Kid Capri's Remix) (00:03:58)

...( Info )...

Artist: VA
Title: SpaceSynth.Ru presents: Special New Year's Voyage 2026
Year: 2026
Genre: SpaceSynth, Space-Dance, Synthpop, Italo-Disco, Retrowave
Country: Russia
Duration: 01:19:04
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Black Hole - Voice Of Orbit (07:18)
02. Digital Galaxy - Outer World (04:16)
03. AlimkhanOV A. & TDHDriver - Dance Of Galaxies (04:28)
04. South Pole - Another Planet (Club Version) (07:23)
05. Ray Orion - Dixis (07:04)
06. SuperVox - Memory Protected (04:03)
07. Microdance - Rifle Gun (07:25)
08. Kosmotron - Kosmotron (05:46)
09. Black Hole - Intergalactic Empire (07:46)
10. Laserlight - Chelyabinsk Meteor (Remix) (05:20)
11. Dennis Science - Sahara Spaceport (03:33)
12. Kirill Sawazki - Cosmic Light (04:40)
13. Ice 771 - Ams Vega (04:19)
14. Dennis Science - Drifting in Space (05:36)

...( Info )...

Artist: Madonna
Title: Rebel Heart (Deluxe)
Year: 2015/2026
Genre: Electronic, Hip-Hop, Pop
Style: Europop, Dance-pop, Pop Rap, House, Trap
Publisher (label): Warner Records
Duration: 01:33:29
Format/Codec: FLAC (tracks)
Audio bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Living For Love (00:03:39)
02. Devil Pray (00:04:06)
03. Ghosttown (00:04:10)
04. Unapologetic Bitch (00:03:51)
05. Illuminati (00:03:45)
06. Bitch I'm Madonna (feat. Nicki Minaj) (00:03:47)
07. Hold Tight (00:03:39)
08. Joan Of Arc (00:04:02)
09. Iconic (feat. Chance The Rapper & Mike Tyson) (00:04:35)
10. HeartBreakCity (00:03:34)
11. Body Shop (00:03:39)
12. Holy Water (00:04:09)
13. Inside Out (00:04:24)
14. Wash All Over Me (00:04:03)
15. Best Night (00:03:34)
16. Veni Vidi Vici (feat. Nas) (00:04:40)
17. S.E.X. (00:04:11)
18. Messiah (00:03:22)
19. Rebel Heart (00:03:22)
20. Auto-Tune Baby (00:04:01)
21. Beautiful Scars (00:04:19)
22. Borrowed Time (00:03:25)
23. Addicted (00:03:33)
24. Graffiti Heart (00:03:39)

..::INFO::..

---------------------------------------------------------------------
Fleetwood Mac - Oh Well - Greatest Hits Live - (2 CD)
---------------------------------------------------------------------

Artist...............: Fleetwood Mac
Album................: Oh Well - Greatest Hits Live
Genre................: Blues/Rock
Source...............: CD
Year.................: 1988
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 60-62 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Commander

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

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

1. Fleetwood Mac - Keep A Knocking [04:59]
2. Fleetwood Mac - Red Hot Mama [04:01]
3. Fleetwood Mac - Green Manalishi [15:43]
4. Fleetwood Mac - Madison Blues [04:49]
5. Fleetwood Mac - Sandy Mary [05:15]
6. Fleetwood Mac - Stranger Blues [03:54]
7. Fleetwood Mac - Great Balls Of Fire [02:55]
8. Fleetwood Mac - Jenny Jenny [07:59]
9. Fleetwood Mac - Got To Move [03:46]
10. Fleetwood Mac - Oh Baby [04:18]
11. Fleetwood Mac - Teenage Darling [04:20]
12. Fleetwood Mac - Loving Kind [02:54]
13. Fleetwood Mac - Tutti Frutti [06:47]

Playing Time.........: 01:11:48
Total Size...........: 440,34 MB

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

1. Fleetwood Mac - Oh Well [03:23]
2. Fleetwood Mac - Black Magic Woman [06:02]
3. Fleetwood Mac - World In Harmony [03:41]
4. Fleetwood Mac - Like It This Way [04:18]
5. Fleetwood Mac - Only You [04:10]
6. Fleetwood Mac - Jumpin' At Shadows [04:53]
7. Fleetwood Mac - Can't Hold On [06:48]
8. Fleetwood Mac - Rattlesnake Shake [24:05]

Playing Time.........: 57:23
Total Size...........: 361,01 MB

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


..::OPIS::..

Ten 'pieprzony bałagan' brzmieniowy, daje porządnego kopa na 'Sixth Extinction' - pierwszym pełnowymiarowym albumie Defeatist!

Pamiętam, kiedy słuchałem pierwszy raz tego krążka... Miałem uśmiech dookoła gęby!
A przecież uśmiech jest dobry, nawet jeśli pojawia się po wysłuchaniu cudzego nieszczęścia... Ha, ha!



..::TRACK-LIST::..

1. Heresy Delusion 1:25
2. Fall In Line 1:20
3. Dawn Of No Light 1:41
4. Malice Engine 1:29
5. Without Will 1:17
6. Death Holds Her Brood 1:20
7. Drained 1:35
8. Ways Of Weakness (Backing Vocals-Harris Christos) 1:58
9. Extinction Throne 1:23
10. Man's Inhumanity To Man 1:38
11. Warning 1:50
12. Storm Of Silence 1:30
13. Petit Mort 1:40
14. Diseased Mind 0:34
15. Filth Procession 1:08
16. Falter 0:48
17. Supplicant 1:05
18. Stab Of Betrayal 1:49
19. Xtul 1:50



..::OBSADA::..

Bass - Joshua Scott
Drums - Joel Stallings
Guitar, Vocals - Aaron Nichols




https://www.youtube.com/watch?v=5HhwVn75ihA



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

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


..::OPIS::..

Ten 'pieprzony bałagan' brzmieniowy, daje porządnego kopa na 'Sixth Extinction' - pierwszym pełnowymiarowym albumie Defeatist!

Pamiętam, kiedy słuchałem pierwszy raz tego krążka... Miałem uśmiech dookoła gęby!
A przecież uśmiech jest dobry, nawet jeśli pojawia się po wysłuchaniu cudzego nieszczęścia... Ha, ha!



..::TRACK-LIST::..

1. Heresy Delusion 1:25
2. Fall In Line 1:20
3. Dawn Of No Light 1:41
4. Malice Engine 1:29
5. Without Will 1:17
6. Death Holds Her Brood 1:20
7. Drained 1:35
8. Ways Of Weakness (Backing Vocals-Harris Christos) 1:58
9. Extinction Throne 1:23
10. Man's Inhumanity To Man 1:38
11. Warning 1:50
12. Storm Of Silence 1:30
13. Petit Mort 1:40
14. Diseased Mind 0:34
15. Filth Procession 1:08
16. Falter 0:48
17. Supplicant 1:05
18. Stab Of Betrayal 1:49
19. Xtul 1:50



..::OBSADA::..

Bass - Joshua Scott
Drums - Joel Stallings
Guitar, Vocals - Aaron Nichols




https://www.youtube.com/watch?v=5HhwVn75ihA



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

..::INFO::..

---------------------------------------------------------------------
The Who - Tommy (Deluxe Edition) - (2 CD)
---------------------------------------------------------------------

Artist...............: The Who
Album................: Tommy (Deluxe Edition)
Genre................: Rock
Source...............: CD
Year.................: 1969-2004
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 63-66 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music Japan

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

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

1. The Who - Overture [05:20]
2. The Who - It's A Boy [00:38]
3. The Who - 1921 [02:48]
4. The Who - Amazing Journey [05:04]
5. The Who - Sparks [02:05]
6. The Who - Eyesight To The Blind (The Hawker) [02:14]
7. The Who - Christmas [04:32]
8. The Who - Cousin Kevin [04:06]
9. The Who - The Acid Queen [03:34]
10. The Who - Underture [10:04]
11. The Who - Do You Think It's Alright [00:24]
12. The Who - Fiddle About [01:31]
13. The Who - Pinball Wizard [03:01]
14. The Who - There's A Doctor [00:23]
15. The Who - Go To The Mirror! [03:47]
16. The Who - Tommy, Can You Hear Me [01:35]
17. The Who - Smash The Mirror [01:34]
18. The Who - Sensation [02:28]
19. The Who - Miracle Cure [00:12]
20. The Who - Sally Simpson [04:10]
21. The Who - I'm Free [02:39]
22. The Who - Welcome [04:32]
23. The Who - Tommy's Holiday Camp [00:57]
24. The Who - We're Not Gonna Take It [03:28]
25. The Who - See Me Feel Me, Listening To You [03:41]

Playing Time.........: 01:15:00
Total Size...........: 492,96 MB

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

1. The Who - I Was [00:17]
2. The Who - Christmas (Out-Take 3) [04:44]
3. The Who - Cousin Kevin Model Child [01:26]
4. The Who - Young Man Blues (Version One) [02:53]
5. The Who - Tommy, Can You Hear Me (Alternate Version) [02:00]
6. The Who - Trying To Get Through [02:51]
7. The Who - Sally Simpson (Out-Take) [04:10]
8. The Who - Miss Simpson [04:20]
9. The Who - Welcome (Take 2) [03:44]
10. The Who - Tommy's Holiday Camp (Band's Version) [01:09]
11. The Who - We're Not Gonna Take It (Alternate Version) [06:12]
12. The Who - Dogs (Part Two) [02:30]
13. The Who - It's A Boy [00:44]
14. The Who - Amazing Journey [03:43]
15. The Who - Christmas [01:58]
16. The Who - Do You Think It's Alright [00:29]
17. The Who - Pinball Wizard [03:47]

Playing Time.........: 47:03
Total Size...........: 295,39 MB

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


..::OPIS::..

'Master Project Genesis' to jeden z najlepszych albumów progresywnego/technicznego thrashu z lat 80. Jest bardziej 'bezpośredni' niż Watchtower, ale wciąż pełen dziwactw i świetnych zakrętów.
Fani Watchtower, Realm, Mekong Delta i Unleashed Power zdecydowanie powinni zdobyć ten album.

FA

Target were one of those thrash bands that started out as a rather standard thrash band. Their debut record "Mission Executed" wasn't anything earth-shattering, but it was still some decent stuff. However, Target would explode into a full blown technical/progressive thrash metal powerhouse on their next record, "Master Project Genesis". This record showcases the band at their creative peak. The riffs are insanely technical, and there are lots of conflicting odd time signatures to be found. The bass is especially audible, just like any other prog thrash band. This record has sadly been overlooked however in favor of the often overrated bands that thrashers seem to worship.

The production on this album is state-of-the-art, now THIS is how you produce a technical/progressive thrash album! The producer is none other than Mekong Delta's bassist and band leader Ralph Hubert. The production of the guitars is razor sharp, and the guitar tone sounds full of life and has that crunch to it that adds a tremendous amount of punch to the mix. The bass is amazing, I really wish the bass was like this in all other thrash albums of the 80's era. The drums sound good, there isn't that reverb that tends to ruin the production. Finally, I would like to mention that the vocals are mixed well and they don't overpower the guitars and bass, the vocals are perfectly mixed.

The record has probably one of the strongest song line-ups on any thrash album. "The Coming Of Chaos" is a furious technical frenzy of riffs that will pull you in and grasp your attention immediately upon first listen. Franky Van Aerde is an incredible rhythm guitarist, his riffs are varied much like any other technical thrash guitarist. The riffs and bass blend together perfectly as well, bassist Johan Susant is unique, and his bass lines don't just follow the guitars. Vocalist Yves Lettanie sounds extremely similar, if not EXACTLY like Wolfgang Borgmann from Mekong Delta. Yves has a very high vocal range, which fits the technical thrash sound very well. I also would like to mention the amazing guitar solos. Lex Vogelaar is one of the most underappreciated thrash lead guitarists in the technical/progressive field. His solos on tracks such as "Ultimate Unity" and "Secret Of The Dome" are both nothing short of perfection. Drummer Christ Braems does a fantastic job, his transitions from one time signature to another is on point, and he proves himself as one of the most competent drummers in the all of technical thrash.

The highlights of the record are track such as "Digital Regency" which have forceful gang shouts and fast chaotic riffs which add to the overall frantic nature of the song. "March Of The Machines" has a heavy chugging riff which resembles the sound of the machines marching on in unison, that riff was a nice touch and I think it's a clever idea for them to do that. The aforementioned "Secret Of The Dome" has a memorable technical riff, and the solo is probably the best on the whole record. Lastly, there is the title track, which contains some eerie synths which adds an almost atmospheric sound to the whole track. The melodic shredding melodies of Lex Vogelaar fade out, which ends the record.

This is quite possibly the greatest thrash metal band and album to come out of Belgium, which is quite the feat considering the fact that Cyclone's "Brutal Destruction" and Evil Sinner's self-titled debut are albums that also represent Belgium thrash. This record seems to be a concept album of sorts, because it talks about cyborgs taking over mankind and replacing humans with machines. It's quite obvious with song titles such as "Absolution By Termination", "Dehumanization" and "March Of The Machines". Hell, the chorus of "Dehumanization" is this following line...

"Dehumanization
Cybernetic transformation!"

Yeah, this album is definitely about humans being turned into cyborg humanoids. Anyways, I highly suggest you pick this album up. It costs quite a lot, the version I got cost $30. However, the original CD pressing from 1988 usually goes for a whopping $200 for a non-bootleg copy. I recommend this masterpiece for fans of Mekong Delta, Sieges Even, Watchtower, Toxik, and Realm.

ThrashFanatic


The first time I got exposed to this album was by mistake: I went to the studio to get the German speed/power metallers Mania’s “Changing Times” (1989) (never heard of them previously; just liked the name), but the jerk over there put “Master Project Genesis” on my cassette instead. I remember listening to the album thinking, “Wow! These guys are real maniacs! The way they play…”. A few days later I played this effort to a friend of mine. The guy exclaimed, “Man, this is not Mania! I have their album! These are some psychos I’ve never heard before!”. I played the tape to a few other ”connoisseurs”, but no one had the faintest idea who these guys were. Only one person tried to make a vague reference, “This stuff reminds me of this German act I came across recently, Mekong Delta; but it’s definitely not them cause I have their two albums.” (the debut and “The Music of Erich Zann”; “The Principle of Doubt” wasn’t released yet at the time) …

Back in the late-80’s I was listening to heavy/power metal (Mercyful Fate/King Diamond, Scorpions, Helloween, Judas, Accept, etc.), and I couldn’t care less about thrash, let alone the technical/progressive side of it. Needless to add, I didn’t like this very complex aural “invasion”, and not even knowing the name of the band… that was it: I deleted the Target effort; I recorded something else over it. We roll three years forwards, and the situation is entirely different: Coroner are my favourite band, and I voraciously devour everything which has even the slightest twist in the riff-patterns. A guy gives me a 90-min cassette; on side A he has Depressive Age’s “First Depression”, freshly released; on side B he has Sacrosanct’s “Truth is What is”. The Sacrosanct album is shorter and the guy has recorded something else to fill in the space. The moment it starts I instantly recall “this mysterious band I once had”. “Who are these?”, I ask. “Target from Germany”, the guy answers. “Is that all you have?” “No, I have the whole LP. I’ll pass it to you later if you like”.

Finally armed with the band name, I tracked down more information about them from Metal Hammer and other resources (the Internet was still in the making), and also found out that they were not from Germany, but from Belgium; and that they had one other LP released before that one (“Mission Executed”). I got a hold of it, but didn’t find it as impressive as it was a much more straight-forward speed/thrashing affair with casual stylish flourishes here and there. I was also quite amazed to hear what a giant step forward the guys had made within the span of just several months. One major issue, however, I’ve always had with this album: the opener “The Coming of Chaos” is such an astonishing achievement in the history of technical metal that it took me a while before I started caring about the rest of the album. The first few times, already as a fully-accomplished technical/progressive metal “expert”, I listened to it I was so engrossed in this first cut that I paid next to no attention to the remainder; and if I was to review it some twenty years prior, I was probably going to give it the same high score based on this track alone. Another opus that had the same effect on me was “Rust in Peace”: “Holy Wars” is such a tremendous shredder that it took quite some time before I started appreciating the other numbers (what a deaf/blind fool I must have been then; to not notice this “Tornado of Souls” coming from miles away…).

Things are quite different now, and I do consider this LP one of the milestones of technical/progressive thrash metal in its entirety. The band made their wholesome contribution to the evolution of European thrash towards loftier dimensions alongside Mekong Delta, Deathrow, Living Death, Coroner and Paradox. They didn’t last long enough to see themselves covered with laurels, but they still stand as the finest thrash metal export from the small country (although the young upstarts From Beyond are doing their best right now to dethrone them). Back to “The Coming of Chaos”, for the last time I promise: such a supernatural concoction of pounding, jarring, slow/fast, illogical, super-technical riffs and fabulously abrupt time and tempo-shifts this “chaos” topped by these dramatic clean vocals which at times sing, at times semi-recite, at times scream, always on par with the great music… these ears are yet to come across. Jeff Waters tried to produce something similar on “Alice in Hell” a year later, more particularly on “Word Salad “ and “Schizos”, but in a much less compelling, more dishevelled manner. Moments from the Mekong Delta works come very close, of course, as well as the most inspired demented rifforamas from albums like Skeptik Sense’s “Presence of Mind” (1994), Sore Plexus’ “Haptephobic” (1999), Osiris’ “Futurity and Human Depressions” (1991), and Asthoroth’s “Gloomy Experiments” (1990; the demos after it, too).

To the rest of “the project”: if one clearly realizes that 40-min of such an extraterrestrial quality can not possibly be created, not by this, not by any other band… if this thought sinks in comfortably in the listener’s brain then the rest of the album will reveal itself before him/her in all its intricate glory: once all the “chaos” is over, it’s naturally time for “Ultimate Unity”, a dramatic shredder with melody and atonality creating a nice symbiosis at the beginning this “idyll” dispersed by a fast-paced development which experiences a few stylish choppy breaks along the way including authoritative bass echoes. “Digital Regency” tries to match the surreal riff-fest of the opener and almost succeeds if it isn’t for the more linear speedy passages and the more repetitive nature of the rhythm-section which changes towards the end into a cool lead-driven exit. “Absolution by Termination” creeps forward in a minimalistic doomy manner which transforms into something more intriguing and more vivid at a later stage still retaining the not as intense mid-tempo; expect more stylish bassisms and quirky oddball riffage in the second half, plus a great doomy ending (Candlemass, beware!).

“Dehumanization” starts thrashing with passion from the get-go the tension escalating gradually with fast steel riffs coming from all sides replaced by slower twisted ones mid-way, but only as a momentary deviation. “March of the Machines” will make all machines around you march into oblivion the riffs steam-rolling with more intricate throw-ins flickering in and out of existence, not interfering too much with the steady mid-paced stride which is also “disturbed” by a brilliant lead section. “Secret of the Dome” serves a portion of abstract oddball riffage which is vintage Mekong Delta before the guys switch to marginally more orthodox mid-tempo thrash; not for long, though, since a short mind-scratching riff “salad” follows suit making its presence felt in the rhythmic patterns which get modified into more technical strokes in the second half. The title-track arrives to close this very interesting effort with consistent not as aggressive delivery that wins more points from the excellent vocal performance which here becomes more memorable and lyrical; a nice chorus is added later alongside faster-paced riffs and hectic dramatic accumulations in the middle, not to mention the cool lead-driven epitaph.

The band were lucky to find shelter in Aaarrgh Records, the label run by the Mekong Delta mastermind Ralph Hubert, from the very beginning and they were by all means well taken care of. Similarities in the execution between the two acts can certainly be detected, but those are due to a couple of more outlandish riff-patterns used by both bands rather than attempts at intentional emulation from either side. Both acts started their careers at roughly the same time so it’s difficult to say who influenced who if there was any influence at all in the first place. Mentioning similarities, both bands began with more straight-forward music although while hints at what was going to befall the listener on the subsequent efforts of the Germans were already provided, there were hardly any sparkles of outstanding creativity on display on the Belgians’ debut. Their rise to technical/progressive prominence was quite sudden and unexpected, almost identical to the one experienced by Deathrow with the “Deception Ignored”/”Raging Steel” juxtaposition. Surreality and avantgradism were the main selling points of European technical/progressive thrash metal, and Target were standing very proud right next to the aforementioned outfits as one of the finest representatives of that wave.

Chaos came, chaos saw, chaos conquered… There was more to “conquer”, as a matter of fact; Mekong Delta built a long successful career from these puzzling, bewildering riffs and rhythms lasting up to this day. The late-80s, and even the early-90’s if you like, were screaming for complex, progressive, mind-stimulating metal. Target could have tried for at least one more effort to space out further cause there was definitely potential for that. They may have even managed to fit into the modern thrash arena with their visionary jumpy, full of surprises rifforamas. Well, I guess the band must have achieved all targets set before them with the two projects presented thirty years ago since they show no interest in resuming their artistic pursuits in the new millennium. It seems like any mission becomes possible instantly if graced by a fascinating, profoundly “chaotic” introduction.

bayern



..::TRACK-LIST::..

1. The Coming Of Chaos
2. Ultimate Unity
3. Digital Regency
4. Absolution By Termination
5. Dehumanization
6. March Of The Machines
7. Secret Of The Dome
8. Master Project Genesis



..::OBSADA::..

Yves Lettanie - Vocals
Johan Susant - Bass, Vocals (backing), Lyrics
Lex Vogelaar - Guitars (lead), Vocals (backing)
Franky Van Aerde - Guitars (rhythm), Vocals (backing)
Christ Braems - Drums, Percussion, Vocals (backing)




https://www.youtube.com/watch?v=cx2ifUT554w



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

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


..::OPIS::..

'Master Project Genesis' to jeden z najlepszych albumów progresywnego/technicznego thrashu z lat 80. Jest bardziej 'bezpośredni' niż Watchtower, ale wciąż pełen dziwactw i świetnych zakrętów.
Fani Watchtower, Realm, Mekong Delta i Unleashed Power zdecydowanie powinni zdobyć ten album.

FA

Target were one of those thrash bands that started out as a rather standard thrash band. Their debut record "Mission Executed" wasn't anything earth-shattering, but it was still some decent stuff. However, Target would explode into a full blown technical/progressive thrash metal powerhouse on their next record, "Master Project Genesis". This record showcases the band at their creative peak. The riffs are insanely technical, and there are lots of conflicting odd time signatures to be found. The bass is especially audible, just like any other prog thrash band. This record has sadly been overlooked however in favor of the often overrated bands that thrashers seem to worship.

The production on this album is state-of-the-art, now THIS is how you produce a technical/progressive thrash album! The producer is none other than Mekong Delta's bassist and band leader Ralph Hubert. The production of the guitars is razor sharp, and the guitar tone sounds full of life and has that crunch to it that adds a tremendous amount of punch to the mix. The bass is amazing, I really wish the bass was like this in all other thrash albums of the 80's era. The drums sound good, there isn't that reverb that tends to ruin the production. Finally, I would like to mention that the vocals are mixed well and they don't overpower the guitars and bass, the vocals are perfectly mixed.

The record has probably one of the strongest song line-ups on any thrash album. "The Coming Of Chaos" is a furious technical frenzy of riffs that will pull you in and grasp your attention immediately upon first listen. Franky Van Aerde is an incredible rhythm guitarist, his riffs are varied much like any other technical thrash guitarist. The riffs and bass blend together perfectly as well, bassist Johan Susant is unique, and his bass lines don't just follow the guitars. Vocalist Yves Lettanie sounds extremely similar, if not EXACTLY like Wolfgang Borgmann from Mekong Delta. Yves has a very high vocal range, which fits the technical thrash sound very well. I also would like to mention the amazing guitar solos. Lex Vogelaar is one of the most underappreciated thrash lead guitarists in the technical/progressive field. His solos on tracks such as "Ultimate Unity" and "Secret Of The Dome" are both nothing short of perfection. Drummer Christ Braems does a fantastic job, his transitions from one time signature to another is on point, and he proves himself as one of the most competent drummers in the all of technical thrash.

The highlights of the record are track such as "Digital Regency" which have forceful gang shouts and fast chaotic riffs which add to the overall frantic nature of the song. "March Of The Machines" has a heavy chugging riff which resembles the sound of the machines marching on in unison, that riff was a nice touch and I think it's a clever idea for them to do that. The aforementioned "Secret Of The Dome" has a memorable technical riff, and the solo is probably the best on the whole record. Lastly, there is the title track, which contains some eerie synths which adds an almost atmospheric sound to the whole track. The melodic shredding melodies of Lex Vogelaar fade out, which ends the record.

This is quite possibly the greatest thrash metal band and album to come out of Belgium, which is quite the feat considering the fact that Cyclone's "Brutal Destruction" and Evil Sinner's self-titled debut are albums that also represent Belgium thrash. This record seems to be a concept album of sorts, because it talks about cyborgs taking over mankind and replacing humans with machines. It's quite obvious with song titles such as "Absolution By Termination", "Dehumanization" and "March Of The Machines". Hell, the chorus of "Dehumanization" is this following line...

"Dehumanization
Cybernetic transformation!"

Yeah, this album is definitely about humans being turned into cyborg humanoids. Anyways, I highly suggest you pick this album up. It costs quite a lot, the version I got cost $30. However, the original CD pressing from 1988 usually goes for a whopping $200 for a non-bootleg copy. I recommend this masterpiece for fans of Mekong Delta, Sieges Even, Watchtower, Toxik, and Realm.

ThrashFanatic


The first time I got exposed to this album was by mistake: I went to the studio to get the German speed/power metallers Mania’s “Changing Times” (1989) (never heard of them previously; just liked the name), but the jerk over there put “Master Project Genesis” on my cassette instead. I remember listening to the album thinking, “Wow! These guys are real maniacs! The way they play…”. A few days later I played this effort to a friend of mine. The guy exclaimed, “Man, this is not Mania! I have their album! These are some psychos I’ve never heard before!”. I played the tape to a few other ”connoisseurs”, but no one had the faintest idea who these guys were. Only one person tried to make a vague reference, “This stuff reminds me of this German act I came across recently, Mekong Delta; but it’s definitely not them cause I have their two albums.” (the debut and “The Music of Erich Zann”; “The Principle of Doubt” wasn’t released yet at the time) …

Back in the late-80’s I was listening to heavy/power metal (Mercyful Fate/King Diamond, Scorpions, Helloween, Judas, Accept, etc.), and I couldn’t care less about thrash, let alone the technical/progressive side of it. Needless to add, I didn’t like this very complex aural “invasion”, and not even knowing the name of the band… that was it: I deleted the Target effort; I recorded something else over it. We roll three years forwards, and the situation is entirely different: Coroner are my favourite band, and I voraciously devour everything which has even the slightest twist in the riff-patterns. A guy gives me a 90-min cassette; on side A he has Depressive Age’s “First Depression”, freshly released; on side B he has Sacrosanct’s “Truth is What is”. The Sacrosanct album is shorter and the guy has recorded something else to fill in the space. The moment it starts I instantly recall “this mysterious band I once had”. “Who are these?”, I ask. “Target from Germany”, the guy answers. “Is that all you have?” “No, I have the whole LP. I’ll pass it to you later if you like”.

Finally armed with the band name, I tracked down more information about them from Metal Hammer and other resources (the Internet was still in the making), and also found out that they were not from Germany, but from Belgium; and that they had one other LP released before that one (“Mission Executed”). I got a hold of it, but didn’t find it as impressive as it was a much more straight-forward speed/thrashing affair with casual stylish flourishes here and there. I was also quite amazed to hear what a giant step forward the guys had made within the span of just several months. One major issue, however, I’ve always had with this album: the opener “The Coming of Chaos” is such an astonishing achievement in the history of technical metal that it took me a while before I started caring about the rest of the album. The first few times, already as a fully-accomplished technical/progressive metal “expert”, I listened to it I was so engrossed in this first cut that I paid next to no attention to the remainder; and if I was to review it some twenty years prior, I was probably going to give it the same high score based on this track alone. Another opus that had the same effect on me was “Rust in Peace”: “Holy Wars” is such a tremendous shredder that it took quite some time before I started appreciating the other numbers (what a deaf/blind fool I must have been then; to not notice this “Tornado of Souls” coming from miles away…).

Things are quite different now, and I do consider this LP one of the milestones of technical/progressive thrash metal in its entirety. The band made their wholesome contribution to the evolution of European thrash towards loftier dimensions alongside Mekong Delta, Deathrow, Living Death, Coroner and Paradox. They didn’t last long enough to see themselves covered with laurels, but they still stand as the finest thrash metal export from the small country (although the young upstarts From Beyond are doing their best right now to dethrone them). Back to “The Coming of Chaos”, for the last time I promise: such a supernatural concoction of pounding, jarring, slow/fast, illogical, super-technical riffs and fabulously abrupt time and tempo-shifts this “chaos” topped by these dramatic clean vocals which at times sing, at times semi-recite, at times scream, always on par with the great music… these ears are yet to come across. Jeff Waters tried to produce something similar on “Alice in Hell” a year later, more particularly on “Word Salad “ and “Schizos”, but in a much less compelling, more dishevelled manner. Moments from the Mekong Delta works come very close, of course, as well as the most inspired demented rifforamas from albums like Skeptik Sense’s “Presence of Mind” (1994), Sore Plexus’ “Haptephobic” (1999), Osiris’ “Futurity and Human Depressions” (1991), and Asthoroth’s “Gloomy Experiments” (1990; the demos after it, too).

To the rest of “the project”: if one clearly realizes that 40-min of such an extraterrestrial quality can not possibly be created, not by this, not by any other band… if this thought sinks in comfortably in the listener’s brain then the rest of the album will reveal itself before him/her in all its intricate glory: once all the “chaos” is over, it’s naturally time for “Ultimate Unity”, a dramatic shredder with melody and atonality creating a nice symbiosis at the beginning this “idyll” dispersed by a fast-paced development which experiences a few stylish choppy breaks along the way including authoritative bass echoes. “Digital Regency” tries to match the surreal riff-fest of the opener and almost succeeds if it isn’t for the more linear speedy passages and the more repetitive nature of the rhythm-section which changes towards the end into a cool lead-driven exit. “Absolution by Termination” creeps forward in a minimalistic doomy manner which transforms into something more intriguing and more vivid at a later stage still retaining the not as intense mid-tempo; expect more stylish bassisms and quirky oddball riffage in the second half, plus a great doomy ending (Candlemass, beware!).

“Dehumanization” starts thrashing with passion from the get-go the tension escalating gradually with fast steel riffs coming from all sides replaced by slower twisted ones mid-way, but only as a momentary deviation. “March of the Machines” will make all machines around you march into oblivion the riffs steam-rolling with more intricate throw-ins flickering in and out of existence, not interfering too much with the steady mid-paced stride which is also “disturbed” by a brilliant lead section. “Secret of the Dome” serves a portion of abstract oddball riffage which is vintage Mekong Delta before the guys switch to marginally more orthodox mid-tempo thrash; not for long, though, since a short mind-scratching riff “salad” follows suit making its presence felt in the rhythmic patterns which get modified into more technical strokes in the second half. The title-track arrives to close this very interesting effort with consistent not as aggressive delivery that wins more points from the excellent vocal performance which here becomes more memorable and lyrical; a nice chorus is added later alongside faster-paced riffs and hectic dramatic accumulations in the middle, not to mention the cool lead-driven epitaph.

The band were lucky to find shelter in Aaarrgh Records, the label run by the Mekong Delta mastermind Ralph Hubert, from the very beginning and they were by all means well taken care of. Similarities in the execution between the two acts can certainly be detected, but those are due to a couple of more outlandish riff-patterns used by both bands rather than attempts at intentional emulation from either side. Both acts started their careers at roughly the same time so it’s difficult to say who influenced who if there was any influence at all in the first place. Mentioning similarities, both bands began with more straight-forward music although while hints at what was going to befall the listener on the subsequent efforts of the Germans were already provided, there were hardly any sparkles of outstanding creativity on display on the Belgians’ debut. Their rise to technical/progressive prominence was quite sudden and unexpected, almost identical to the one experienced by Deathrow with the “Deception Ignored”/”Raging Steel” juxtaposition. Surreality and avantgradism were the main selling points of European technical/progressive thrash metal, and Target were standing very proud right next to the aforementioned outfits as one of the finest representatives of that wave.

Chaos came, chaos saw, chaos conquered… There was more to “conquer”, as a matter of fact; Mekong Delta built a long successful career from these puzzling, bewildering riffs and rhythms lasting up to this day. The late-80s, and even the early-90’s if you like, were screaming for complex, progressive, mind-stimulating metal. Target could have tried for at least one more effort to space out further cause there was definitely potential for that. They may have even managed to fit into the modern thrash arena with their visionary jumpy, full of surprises rifforamas. Well, I guess the band must have achieved all targets set before them with the two projects presented thirty years ago since they show no interest in resuming their artistic pursuits in the new millennium. It seems like any mission becomes possible instantly if graced by a fascinating, profoundly “chaotic” introduction.

bayern



..::TRACK-LIST::..

1. The Coming Of Chaos
2. Ultimate Unity
3. Digital Regency
4. Absolution By Termination
5. Dehumanization
6. March Of The Machines
7. Secret Of The Dome
8. Master Project Genesis



..::OBSADA::..

Yves Lettanie - Vocals
Johan Susant - Bass, Vocals (backing), Lyrics
Lex Vogelaar - Guitars (lead), Vocals (backing)
Franky Van Aerde - Guitars (rhythm), Vocals (backing)
Christ Braems - Drums, Percussion, Vocals (backing)




https://www.youtube.com/watch?v=cx2ifUT554w



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

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


..::OPIS::..

Porywający, chwytliwy i rytmiczny, z naciskiem na punkowe średnie tony, Infanticide prezentuje 21 utworów w, brutalnych 25 minutach i robi to dobrze, choć nie zmienia to nic w świecie grindcore'u.

FA

After a slew of releases on the legendary 625 Thrash Records and critical praise across the globe, Sweden's INFANTICIDE return with a truly tremendous grindcore release. From Our Cold, Dead Hands is a brilliant old-school grindcore album in the vein of classic Napalm Death, Nasum, Assuck, and Terrorizer.




1. Domestic Warfare 02:23
2. Inside The Box 00:44
3. Millitant Resentment 01:19
4. Change! 01:05
5. Lifeless 00:52
6. Illusion Of Purpose 01:22
7. Puzzles Of The Flesh 00:56
8. A Worse Today 01:05
9. Tvärvägra 00:33
10. Shock And Awe 02:22
11. Shitfaced And Armed To The Teeth 00:40
12. Crisis Point 01:10
13. Within Inches 00:38
14. #(&%#€7 00:38
15. Demerol Deity 01:27
16. Dödligt Självförsvar 00:48
17. Under Dumhet Digna Ned 02:08
18. A World Of Opportunities 01:41
19. It Ends Here 01:22
20. The Alliance 01:27
21. Alone With God 01:32



..::OBSADA::..

Bass, Vocals - Simon Frid
Drums - Kristoffer Lövgren
Guitar - Johan Malm



https://www.youtube.com/watch?v=tVcRMPwJrv8



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

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


..::OPIS::..

Porywający, chwytliwy i rytmiczny, z naciskiem na punkowe średnie tony, Infanticide prezentuje 21 utworów w, brutalnych 25 minutach i robi to dobrze, choć nie zmienia to nic w świecie grindcore'u.

FA

After a slew of releases on the legendary 625 Thrash Records and critical praise across the globe, Sweden's INFANTICIDE return with a truly tremendous grindcore release. From Our Cold, Dead Hands is a brilliant old-school grindcore album in the vein of classic Napalm Death, Nasum, Assuck, and Terrorizer.



..::TRACK-LIST::..

1. Domestic Warfare 02:23
2. Inside The Box 00:44
3. Millitant Resentment 01:19
4. Change! 01:05
5. Lifeless 00:52
6. Illusion Of Purpose 01:22
7. Puzzles Of The Flesh 00:56
8. A Worse Today 01:05
9. Tvärvägra 00:33
10. Shock And Awe 02:22
11. Shitfaced And Armed To The Teeth 00:40
12. Crisis Point 01:10
13. Within Inches 00:38
14. #(&%#€7 00:38
15. Demerol Deity 01:27
16. Dödligt Självförsvar 00:48
17. Under Dumhet Digna Ned 02:08
18. A World Of Opportunities 01:41
19. It Ends Here 01:22
20. The Alliance 01:27
21. Alone With God 01:32



..::OBSADA::..

Bass, Vocals - Simon Frid
Drums - Kristoffer Lövgren
Guitar - Johan Malm



https://www.youtube.com/watch?v=tVcRMPwJrv8



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

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


..::OPIS::..

Poprzedniej płycie Nekrologu zarzucałem przesadną „równość” materiału i niespecjalną innowacyjność. Z World Demise sprawa wygląda już inaczej, bowiem panowie Amerykańcy wykonali odważny krok naprzód i nieco odmienili swoje granie, co wielu osobom zdecydowanie nie przypadło do gustu. O żadnej wielkiej rewolucji mowy oczywiście nie ma, ale jak na ten zespół przeobrażenia i tak są wyraźne. W muzyce pojawiło się trochę bezpośrednich hard core’owych elementów, gdzieniegdzie powplatano rozmaite sample (w tym także o zabarwieniu „etnicznym”), większy nacisk położono na uwypuklenie rytmu (brawa dla Donalda i Franka!), zaś riffy stały się rwane i bardziej plastyczne. Nie zmienia to faktu, że rdzeń całości pozostał nienaruszony – prosty i dość mozolny death metal starej szkoły. Brzmienie jest dużo ciekawsze niż na poprzedniej produkcji – bardzo przestrzenne, organiczne, soczyste i jak zwykle niesamowicie ciężkie. Trzeba przy tym zauważyć, że te utwory pulsują, żyją własnym wewnętrznym rytmem. Wspomniałem wyżej o samplach; owszem, pojawiają się, niemniej jednak w ogóle nie przeszkadzają i w kilku miejscach wyszły całkiem całkiem (np. w „Final Thoughts”). Jak powszechnie wiadomo, John Tardy to prawdziwy mistrz w wyrzygiwaniu „tekstów”, więc i tym razem spisał się znakomicie. Płytę rozpoczyna „Don’t Care” – jeden z tych niewielu numerów, przy których idzie się w tany bez względu na okoliczności i późniejsze konsekwencje – przy nim po prostu rzuca słuchaczem jak rannym niedźwiedziem, obłęd i tyle! Dalej też jest nieźle. „Redefine”, „Solid State”, „Burned In” – to tylko niektóre z ciekawych kawałków na tym albumie. Solówki prezentują się raczej standardowo dla Obituary, choć jest też chlubny wyjątek w postaci dwóch naprawdę dobrych i klimatycznych popisów w „Set In Stone”. Niezły jest też wyjąco-mielący „Killing Victims Found”, który pojawił się na rozszerzonej wersji płyty. World Demise to interesujący i w pewnym sensie dość oryginalny krążek death metalowy, przez który może być trudno przebrnąć za pierwszym razem (ponad 50 minut), ale ja jestem przekonany, że warto spróbować.

demo


Rok 1994, czyli w dużym uproszczeniu drastyczny spadek zainteresowania death metalem i pojawienie się tendencji do łagodzenia lub całkowitego zmieniania brzmień, nawet u największych nazw, które wcześniej współtworzyły ten nurt. Byli też oczywiście i tacy, którzy konsekwentnie trzymali się pierwotnych idei, aczkolwiek albo szybko zeszli oni do głębokiego podziemia i sporo upłynęło nim z powrotem zaczęli wzbudzać poruszenie albo po paru latach grania zakończyli działalność (i ewentualnie powrócili znacznie później). Na początku, z pewnością jednak nie było to amerykańskie Obituary! Bracia Tardy i spółka postanowili bowiem spróbować skoku w nieco inne rejony już przy pierwszej okazji, wydając w 1994 roku swój czwarty album zatytułowany "World Demise", kiedy to mainstream opanował w szaleńczym tempie m.in. groove metal.
Cóż, mnie to w kontekście tego całego Obituary naprawdę ciężko dogodzić. Przy okazji poprzedniego krążka "The End Complete" otwarcie twierdziłem, że brakuje tam wyraźniejszych zmian i chęci wyjścia ponad znane patenty. Tymczasem, na "World Demise" trudno nie odnieść wrażenia, że lepiej byłoby, gdyby Amerykanie...pozostali przy tym co wcześniej! Sensu w tym za grosz, ale po kolei. Gdy death metal zaczął pomału wypadać z obiegu, Amerykanie z Obituary uznali, że nie będą całkowicie zrywać z tamtymi klimatami, aczkolwiek bardzo istotnie wniosą do swojego grania bujającej, groove metalowej rytmiki, trochę hardcore'owych przyspieszeń i ogólnego feelingu w duchu Cro-Mags i Biohazard, a także w minimalnym stopniu industrialnego klimatu (na szczęście, głównie za sprawą sampli). Te zamiary się tu jednak całkiem udały. Bo pomimo rozszerzenia stylu o szereg zmian, które mogły nie do końca spasować ortodoksom, to death metal jest tu punktem wyjścia.

Właśnie, death metalowa strona "World Demise" robi naprawdę dobre wrażenie. John ryczy zawodowo, ciężar wylewa się z głośników hektolitrami (a sound to jeden z najlepszych, jakie Obituary kiedykolwiek osiągnęli), motywy gitarowe i perkusyjne są nieźle zróżnicowane mimo swojej prostoty (dopiero po "Solid State" kawałki się nieco zaczynają zlewać), Allen West ponownie błyszczy dość dużą ilością wystrzałowych solówek, a także sam koncept upadku świata nakłania do refleksji. Gorzej ma się - jak już wspominałem - nowsze oblicze zespołu i jego nie zawsze jednakowa spójność z tym starszym. O ile jeszcze z początku (mniej więcej do połowy krążka) da się te zmiany zrozumieć, tak im dalej w "World Demise" tym bardziej te nowinki zaczynają drażnić - wyraźnie czuć, że chłopaki chcieli trochę na siłę unowocześnić swoją muzykę. I tak obok świetnie bujających, ale mocno wyziewnych "Don't Care", "Lost", tytułowca, "Paralyzing" oraz "Redefine" trafiają się przeciętne lub niepotrzebnie podrasowane "Kill For Me", "Splattered", "Final Thoughts" i "Boiling Point". Nie zaszkodziłoby też "World Demise" mała redukcja objętościowa.

Czwarty album Obituary należy zatem do jednych z ostatnich, które są tak istotne w dorobku tych Amerykanów. Owszem, spośród pierwszej czwórki wypada on najsłabiej, aczkolwiek to i tak dosyć niezła porcja muzyki, wśród której znalazły się utwory po dziś dzień stanowiące klasykę repertuaru Obituary na żywo. "World Demise" pomimo odejścia od tradycyjnie pojmowanego death metalu, pokazał, że jak najbardziej możliwym jest dopuszczenie nowszych, bardziej modnych wpływów do wcześniejszego stylu na tyle, by kompletnie nie zatracić własnej tożsamości. Obituary wyszła ta wolta bez obciachu i tylko dziwi, że w następnych latach zaprzestali oni podobnych ruchów.

Trochę subiektywizmu


Już na pierwszy rzut oka widać, że na czwartej płycie Obituary coś się zmieniło. Martwe, malowane krajobrazy zastąpiło zdjęcie koszmarnego, przemysłowego miasta, którego fabryczne kominy wyrzucają w atmosferę wielkie kłęby zabójczego dymu. W tym dymie znajduje się logo zespołu, a tytuł na dole obwieszcza światu zgon. Po rozwinięciu okładki, zamiast tekstów, napotykamy kolejne zdjęcia, które obrazują, nędzę, zanieczyszczenia, narkomanię, choroby i kłusownictwo.

Połowa lat dziewięćdziesiątych to nie był dobry czas dla death metalu. Dla jednych przestał być tym ekstremum i pochłonięci czarną falą stanęli do niego w opozycji, dla innych wciąż był zbyt brutalny i mało atrakcyjny, więc coraz większy rozgłos zaczęły zdobywać zespoły melodyjne i symfoniczne. Starzy krezusi poszli w odstawkę. Liczby sprzedanych płyt zaczęły dramatycznie spadać, a widownia koncertowa gwałtownie się kurczyła. Mówiło się, że jest to wypalony gatunek, którego już nie można rozwinąć. Że wszystko już zostało zagrane i jego czas się skończył. Wiele zespołów zaczęło zmieniać swoje podejście do muzyki i ta tendencja nie ominęła również Obituary.

Przede wszystkim "World Demise" to płyta mniej intensywna od poprzednich, za to bardziej wyrazista i przebojowa. Jest taka bardziej przystępna i ma dużo swoich charakterystycznych punktów. Takie "Don't Care" czy "Final Thoughts" to są utwory stylizowane na hity, których wcześniej w twórczości Obituary nie było. Oczywiście te zmiany spowodowały obniżenie death metalowej siły rażenia. Riffy nie są już tak miażdżące, a atmosfera tak śmiercionośna.

Druga podstawowa nowość to zastosowanie efektów elektronicznych. Na płycie występuje ich dość sporo, choć pełnią rolę dodatków i uzupełnień. Wprowadzają koloryt i nie bezczeszczą muzyki. Są głównie w "World Demise", "Redefine" i "Splattered". W "Solid State" przesterowany wokal pełni główną rolę w refrenie, jakieś głosy pojawiają się też w "Boiling Point".

Trzecią cechą charakterystyczną "World Demise" jest ostatni "Kill For Me", a właściwie jego nietypowa końcówka. Choć ten numer już zaczyna się klimatycznie to cała jego druga część, nie jest utworem Obituary, tylko nagranym zawodzeniem afrykańskiego dziadka, wspomaganym jakimś egzotycznym, prymitywnym, bębenkowym instrumentarium i okraszonym odgłosami swojej wsi w tle. Niezwykłe to dla płyty death metalowej, ale trzeba przyznać, że ten dość długi fragment ma swój wyraz i emocje.

Co by jednak nie mówić, nie można popadać w przesadę i trzeba przyznać, że Obituary pozostali sobą i nie zatracili swoich charakterystycznych cech. Dalej jest ociężale, a gitary mają gnuśną barwę. Jest wiele mocnych riffów, solówek, no i oczywiście ten niezniszczalny wokal. Ja zawsze lubiłem ten album i doceniając nowe oblicze zespołu nie dołączyłem do grona malkontentów. Nie wymagam od swoich ulubionych zespołów, żeby nagrywały wciąż takie same płyty. Jest trochę inaczej, ale wciąż bardzo dobrze.

Wujas


To put it simply, year 1994 was a drastic decline in interest in death metal and the appearance of a tendency to soften or completely change the sound, even in the case of the biggest names that previously co-created this genre of extreme music. Of course, there were also those who consistently stuck to the original ideas, although they either quickly went into depths of underground or after a few years of playing they split-up (and possibly returned much later). At first, however, it certainly wasn't the American Obituary! The Tardy brothers and the co. decided to try to jump into slightly different areas at the first opportunity, by releasing their fourth album entitled "World Demise". In 1994, they decided to refer to the current fashionable, metal styles (like for example groove metal).

Well, in the context of this whole Obituary, I'm really hard to please. On the occasion of the previous album "The End Complete" I openly claimed that there were no clear changes and nothing more beyond the known patents. Meanwhile, on "World Demise" it's hard not to get the impression that it would be better if the Americans...stayed as before! It makes no sense, but let me explain. When death metal slowly began to fall out of interest, the Americans from Obituary decided that they would not completely break with those sounds, although they would very significantly bring groove metal rhythms, some hardcore accelerations and a general feeling in the spirit of Cro-Mags and Biohazard, and a minimally industrial climate (thankfully, mainly due to the samples). However, these intentions were quite successful here. Because despite the extension of the style with a number of changes that might not have suited the orthodox, death metal is the starting point here.

Yes, the death metal side of "World Demise" makes a really good impression. John's growls are amazing, the heaviness is overwhelming (and the prodution is one of the best that Obituary has ever done), the guitar and drum motifs are quite varied despite their simplicity (only after "Solid State" the songs are a bit too similar), Allen West again delights with quite a lot of explosive solos, and the concept of the album encourages reflection. Worse is - as I have already mentioned - the newer face of the band and its not always the same consistency with the older one. While from the beginning (more or less halfway through the album) these changes can be understood, the further in "World Demise" the more these novelties start to annoy - you can clearly feel that the guys wanted to modernize their music a bit artificially. And so, next to the great groovy, but very heavy "Don't Care", "Lost", the title track, "Paralyzing" and "Redefine", there are mediocre or unnecessarily tweaked "Kill For Me", "Splattered", "Final Thoughts" and "Boiling Point". "World Demise" wouldn't hurt either, a little volume reduction.

Obituary's fourth album is therefore one of the last that are so important in the output of these Americans. Of course, it's the weakest among their first four albums, but it's still quite a good portion of music, among which there are songs that are classics of Obituary's live setlist. "World Demise" despite the departure from the traditionally understood death metal, showed that it's possible to allow newer, more fashionable influences to the earlier style so as not to completely lose its own identity. Obituary took this turn without embarrassment and it's only surprising that in the following years they stopped similar decisions.

Trochę subiektywizmu



..::TRACK-LIST::..

1. Don’t Care
2. World Demise
3. Burned In
4. Redefine
5. Paralyzing
6. Lost
7. Solid State
8. Splattered
9. Final Thoughts
10. Boiling Point
11. Set In Stone
12. Kill For Me
13. Killing Victims Found

Bonus Tracks:
14. Infected (live)
15. Godly Beings (live)
16. Body Bag (live)
17. Buried Alive
18. Boiling Point (212’ Sporadic Mix)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Frank Watkins - bass
Donald Tardy - drums



https://www.youtube.com/watch?v=7CTtP30Dn3Q



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


..::OPIS::..

Poprzedniej płycie Nekrologu zarzucałem przesadną „równość” materiału i niespecjalną innowacyjność. Z World Demise sprawa wygląda już inaczej, bowiem panowie Amerykańcy wykonali odważny krok naprzód i nieco odmienili swoje granie, co wielu osobom zdecydowanie nie przypadło do gustu. O żadnej wielkiej rewolucji mowy oczywiście nie ma, ale jak na ten zespół przeobrażenia i tak są wyraźne. W muzyce pojawiło się trochę bezpośrednich hard core’owych elementów, gdzieniegdzie powplatano rozmaite sample (w tym także o zabarwieniu „etnicznym”), większy nacisk położono na uwypuklenie rytmu (brawa dla Donalda i Franka!), zaś riffy stały się rwane i bardziej plastyczne. Nie zmienia to faktu, że rdzeń całości pozostał nienaruszony – prosty i dość mozolny death metal starej szkoły. Brzmienie jest dużo ciekawsze niż na poprzedniej produkcji – bardzo przestrzenne, organiczne, soczyste i jak zwykle niesamowicie ciężkie. Trzeba przy tym zauważyć, że te utwory pulsują, żyją własnym wewnętrznym rytmem. Wspomniałem wyżej o samplach; owszem, pojawiają się, niemniej jednak w ogóle nie przeszkadzają i w kilku miejscach wyszły całkiem całkiem (np. w „Final Thoughts”). Jak powszechnie wiadomo, John Tardy to prawdziwy mistrz w wyrzygiwaniu „tekstów”, więc i tym razem spisał się znakomicie. Płytę rozpoczyna „Don’t Care” – jeden z tych niewielu numerów, przy których idzie się w tany bez względu na okoliczności i późniejsze konsekwencje – przy nim po prostu rzuca słuchaczem jak rannym niedźwiedziem, obłęd i tyle! Dalej też jest nieźle. „Redefine”, „Solid State”, „Burned In” – to tylko niektóre z ciekawych kawałków na tym albumie. Solówki prezentują się raczej standardowo dla Obituary, choć jest też chlubny wyjątek w postaci dwóch naprawdę dobrych i klimatycznych popisów w „Set In Stone”. Niezły jest też wyjąco-mielący „Killing Victims Found”, który pojawił się na rozszerzonej wersji płyty. World Demise to interesujący i w pewnym sensie dość oryginalny krążek death metalowy, przez który może być trudno przebrnąć za pierwszym razem (ponad 50 minut), ale ja jestem przekonany, że warto spróbować.

demo


Rok 1994, czyli w dużym uproszczeniu drastyczny spadek zainteresowania death metalem i pojawienie się tendencji do łagodzenia lub całkowitego zmieniania brzmień, nawet u największych nazw, które wcześniej współtworzyły ten nurt. Byli też oczywiście i tacy, którzy konsekwentnie trzymali się pierwotnych idei, aczkolwiek albo szybko zeszli oni do głębokiego podziemia i sporo upłynęło nim z powrotem zaczęli wzbudzać poruszenie albo po paru latach grania zakończyli działalność (i ewentualnie powrócili znacznie później). Na początku, z pewnością jednak nie było to amerykańskie Obituary! Bracia Tardy i spółka postanowili bowiem spróbować skoku w nieco inne rejony już przy pierwszej okazji, wydając w 1994 roku swój czwarty album zatytułowany "World Demise", kiedy to mainstream opanował w szaleńczym tempie m.in. groove metal.
Cóż, mnie to w kontekście tego całego Obituary naprawdę ciężko dogodzić. Przy okazji poprzedniego krążka "The End Complete" otwarcie twierdziłem, że brakuje tam wyraźniejszych zmian i chęci wyjścia ponad znane patenty. Tymczasem, na "World Demise" trudno nie odnieść wrażenia, że lepiej byłoby, gdyby Amerykanie...pozostali przy tym co wcześniej! Sensu w tym za grosz, ale po kolei. Gdy death metal zaczął pomału wypadać z obiegu, Amerykanie z Obituary uznali, że nie będą całkowicie zrywać z tamtymi klimatami, aczkolwiek bardzo istotnie wniosą do swojego grania bujającej, groove metalowej rytmiki, trochę hardcore'owych przyspieszeń i ogólnego feelingu w duchu Cro-Mags i Biohazard, a także w minimalnym stopniu industrialnego klimatu (na szczęście, głównie za sprawą sampli). Te zamiary się tu jednak całkiem udały. Bo pomimo rozszerzenia stylu o szereg zmian, które mogły nie do końca spasować ortodoksom, to death metal jest tu punktem wyjścia.

Właśnie, death metalowa strona "World Demise" robi naprawdę dobre wrażenie. John ryczy zawodowo, ciężar wylewa się z głośników hektolitrami (a sound to jeden z najlepszych, jakie Obituary kiedykolwiek osiągnęli), motywy gitarowe i perkusyjne są nieźle zróżnicowane mimo swojej prostoty (dopiero po "Solid State" kawałki się nieco zaczynają zlewać), Allen West ponownie błyszczy dość dużą ilością wystrzałowych solówek, a także sam koncept upadku świata nakłania do refleksji. Gorzej ma się - jak już wspominałem - nowsze oblicze zespołu i jego nie zawsze jednakowa spójność z tym starszym. O ile jeszcze z początku (mniej więcej do połowy krążka) da się te zmiany zrozumieć, tak im dalej w "World Demise" tym bardziej te nowinki zaczynają drażnić - wyraźnie czuć, że chłopaki chcieli trochę na siłę unowocześnić swoją muzykę. I tak obok świetnie bujających, ale mocno wyziewnych "Don't Care", "Lost", tytułowca, "Paralyzing" oraz "Redefine" trafiają się przeciętne lub niepotrzebnie podrasowane "Kill For Me", "Splattered", "Final Thoughts" i "Boiling Point". Nie zaszkodziłoby też "World Demise" mała redukcja objętościowa.

Czwarty album Obituary należy zatem do jednych z ostatnich, które są tak istotne w dorobku tych Amerykanów. Owszem, spośród pierwszej czwórki wypada on najsłabiej, aczkolwiek to i tak dosyć niezła porcja muzyki, wśród której znalazły się utwory po dziś dzień stanowiące klasykę repertuaru Obituary na żywo. "World Demise" pomimo odejścia od tradycyjnie pojmowanego death metalu, pokazał, że jak najbardziej możliwym jest dopuszczenie nowszych, bardziej modnych wpływów do wcześniejszego stylu na tyle, by kompletnie nie zatracić własnej tożsamości. Obituary wyszła ta wolta bez obciachu i tylko dziwi, że w następnych latach zaprzestali oni podobnych ruchów.

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Już na pierwszy rzut oka widać, że na czwartej płycie Obituary coś się zmieniło. Martwe, malowane krajobrazy zastąpiło zdjęcie koszmarnego, przemysłowego miasta, którego fabryczne kominy wyrzucają w atmosferę wielkie kłęby zabójczego dymu. W tym dymie znajduje się logo zespołu, a tytuł na dole obwieszcza światu zgon. Po rozwinięciu okładki, zamiast tekstów, napotykamy kolejne zdjęcia, które obrazują, nędzę, zanieczyszczenia, narkomanię, choroby i kłusownictwo.

Połowa lat dziewięćdziesiątych to nie był dobry czas dla death metalu. Dla jednych przestał być tym ekstremum i pochłonięci czarną falą stanęli do niego w opozycji, dla innych wciąż był zbyt brutalny i mało atrakcyjny, więc coraz większy rozgłos zaczęły zdobywać zespoły melodyjne i symfoniczne. Starzy krezusi poszli w odstawkę. Liczby sprzedanych płyt zaczęły dramatycznie spadać, a widownia koncertowa gwałtownie się kurczyła. Mówiło się, że jest to wypalony gatunek, którego już nie można rozwinąć. Że wszystko już zostało zagrane i jego czas się skończył. Wiele zespołów zaczęło zmieniać swoje podejście do muzyki i ta tendencja nie ominęła również Obituary.

Przede wszystkim "World Demise" to płyta mniej intensywna od poprzednich, za to bardziej wyrazista i przebojowa. Jest taka bardziej przystępna i ma dużo swoich charakterystycznych punktów. Takie "Don't Care" czy "Final Thoughts" to są utwory stylizowane na hity, których wcześniej w twórczości Obituary nie było. Oczywiście te zmiany spowodowały obniżenie death metalowej siły rażenia. Riffy nie są już tak miażdżące, a atmosfera tak śmiercionośna.

Druga podstawowa nowość to zastosowanie efektów elektronicznych. Na płycie występuje ich dość sporo, choć pełnią rolę dodatków i uzupełnień. Wprowadzają koloryt i nie bezczeszczą muzyki. Są głównie w "World Demise", "Redefine" i "Splattered". W "Solid State" przesterowany wokal pełni główną rolę w refrenie, jakieś głosy pojawiają się też w "Boiling Point".

Trzecią cechą charakterystyczną "World Demise" jest ostatni "Kill For Me", a właściwie jego nietypowa końcówka. Choć ten numer już zaczyna się klimatycznie to cała jego druga część, nie jest utworem Obituary, tylko nagranym zawodzeniem afrykańskiego dziadka, wspomaganym jakimś egzotycznym, prymitywnym, bębenkowym instrumentarium i okraszonym odgłosami swojej wsi w tle. Niezwykłe to dla płyty death metalowej, ale trzeba przyznać, że ten dość długi fragment ma swój wyraz i emocje.

Co by jednak nie mówić, nie można popadać w przesadę i trzeba przyznać, że Obituary pozostali sobą i nie zatracili swoich charakterystycznych cech. Dalej jest ociężale, a gitary mają gnuśną barwę. Jest wiele mocnych riffów, solówek, no i oczywiście ten niezniszczalny wokal. Ja zawsze lubiłem ten album i doceniając nowe oblicze zespołu nie dołączyłem do grona malkontentów. Nie wymagam od swoich ulubionych zespołów, żeby nagrywały wciąż takie same płyty. Jest trochę inaczej, ale wciąż bardzo dobrze.

Wujas


To put it simply, year 1994 was a drastic decline in interest in death metal and the appearance of a tendency to soften or completely change the sound, even in the case of the biggest names that previously co-created this genre of extreme music. Of course, there were also those who consistently stuck to the original ideas, although they either quickly went into depths of underground or after a few years of playing they split-up (and possibly returned much later). At first, however, it certainly wasn't the American Obituary! The Tardy brothers and the co. decided to try to jump into slightly different areas at the first opportunity, by releasing their fourth album entitled "World Demise". In 1994, they decided to refer to the current fashionable, metal styles (like for example groove metal).

Well, in the context of this whole Obituary, I'm really hard to please. On the occasion of the previous album "The End Complete" I openly claimed that there were no clear changes and nothing more beyond the known patents. Meanwhile, on "World Demise" it's hard not to get the impression that it would be better if the Americans...stayed as before! It makes no sense, but let me explain. When death metal slowly began to fall out of interest, the Americans from Obituary decided that they would not completely break with those sounds, although they would very significantly bring groove metal rhythms, some hardcore accelerations and a general feeling in the spirit of Cro-Mags and Biohazard, and a minimally industrial climate (thankfully, mainly due to the samples). However, these intentions were quite successful here. Because despite the extension of the style with a number of changes that might not have suited the orthodox, death metal is the starting point here.

Yes, the death metal side of "World Demise" makes a really good impression. John's growls are amazing, the heaviness is overwhelming (and the prodution is one of the best that Obituary has ever done), the guitar and drum motifs are quite varied despite their simplicity (only after "Solid State" the songs are a bit too similar), Allen West again delights with quite a lot of explosive solos, and the concept of the album encourages reflection. Worse is - as I have already mentioned - the newer face of the band and its not always the same consistency with the older one. While from the beginning (more or less halfway through the album) these changes can be understood, the further in "World Demise" the more these novelties start to annoy - you can clearly feel that the guys wanted to modernize their music a bit artificially. And so, next to the great groovy, but very heavy "Don't Care", "Lost", the title track, "Paralyzing" and "Redefine", there are mediocre or unnecessarily tweaked "Kill For Me", "Splattered", "Final Thoughts" and "Boiling Point". "World Demise" wouldn't hurt either, a little volume reduction.

Obituary's fourth album is therefore one of the last that are so important in the output of these Americans. Of course, it's the weakest among their first four albums, but it's still quite a good portion of music, among which there are songs that are classics of Obituary's live setlist. "World Demise" despite the departure from the traditionally understood death metal, showed that it's possible to allow newer, more fashionable influences to the earlier style so as not to completely lose its own identity. Obituary took this turn without embarrassment and it's only surprising that in the following years they stopped similar decisions.

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..::TRACK-LIST::..

1. Don’t Care
2. World Demise
3. Burned In
4. Redefine
5. Paralyzing
6. Lost
7. Solid State
8. Splattered
9. Final Thoughts
10. Boiling Point
11. Set In Stone
12. Kill For Me
13. Killing Victims Found

Bonus Tracks:
14. Infected (live)
15. Godly Beings (live)
16. Body Bag (live)
17. Buried Alive
18. Boiling Point (212’ Sporadic Mix)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Frank Watkins - bass
Donald Tardy - drums



https://www.youtube.com/watch?v=7CTtP30Dn3Q



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