...( 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



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



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

..::INFO::..

---------------------------------------------------------------------
Tadeusz Nalepa - Dbaj O Miłość
---------------------------------------------------------------------

Artist...............: Tadeusz Nalepa
Album................: Dbaj O Miłość
Genre................: Blues
Source...............: CD
Year.................: 2001
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 69 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Pomaton EMI

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

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

1. Tadeusz Nalepa - Dbaj o miłość [07:50]
2. Tadeusz Nalepa - Nie mieć nic [06:51]
3. Tadeusz Nalepa - Nie chcę żyć [04:21]
4. Tadeusz Nalepa - Mój dom umiera [05:04]
5. Tadeusz Nalepa - Zerwany film [07:57]
6. Tadeusz Nalepa - Ten o tobie film [04:24]
7. Tadeusz Nalepa - Muszę dziś ciebie zabić [06:10]
8. Tadeusz Nalepa - Pozwól mi być z tobą tu [05:02]
9. Tadeusz Nalepa - Jedź ostrożnie, nie popędzaj kół [08:27]
10. Tadeusz Nalepa - Co jest co [04:31]
11. Tadeusz Nalepa - Hołd [06:01]
12. Tadeusz Nalepa - Tak przez cały czas [05:56]

Playing Time.........: 01:12:39
Total Size...........: 508,38 MB

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


..::OPIS::..

Nowa, LIMITOWANA edycja z utworem dodatkowym. Wydany oryginalnie w 1971 roku przez RCA Neon, drugi album w karierze Raw Material to jeden z najwspanialszych (mało znanych) progresywnych tytułów nagranych w Wielkiej Brytanii!
Długie, kompleksowe kompozycje, wpadające z miejsca 'w ucho' melodie, przejrzyste aranżacje i pełne, rockowe brzmienie. Gitary, saksofon, flet, melotron, organy... Całość przypominała nagrania bardzo wczesnych Genesis i Van Der Graaf Generator - ze szczyptą Jethro Tull i King Crimson. To jest absolutnie OBLIGATORYJNA pozycja dla każdego miłośnika progresywnych brzmień z przełomu lat 60-tych i 70-tych! Dodatkowo wydany wyłącznie na singlu, nigdy wcześniej nie wznowiony cover Free - 'Ride On Pony' z 1971!

JL

Tak się ostatnio zastanawiałem, w co się wpakowałem pisząc o moich ukochanych płytach z kręgu starego progresywnego rocka. Dlaczego? Sam postawiłem się w takiej oto sytuacji, że pisząc o tych płytach jestem zdany tylko na zachwyty i różne pozytywy – czyli używam mojej jasnej strony mocy. A że posiadam również ciemną jej stronę (ci co mnie znają wiedzą to aż za dobrze) korciło mnie, aby komuś tak w recenzji dokopać, poszukać negatywów, popastwić się… (o wiele łatwiej się wtedy pisze…, a i nic tak nie cieszy jak małe torturki…???) Szukałem w całej swojej kolekcji płyty, nad którą mógłbym się w tym miejscu słodko poznęcać (oczywiście ze starego rocka… Zresztą ja chyba za wiele innych płyt nie posiadam). Szukałem, szukałem i… nie znalazłem. Najpierw mnie to zasmuciło (torturki), ale po pewnym czasie zdałem sobie (se - jestem z Kociewia!) sprawę, że to jednak szczęście - ogromne szczęście - posiadać prawie tysiąc wspaniałych płyt z gatunku muzyki tzw. rockowej i przeszła mi chęć złośliwego krytykanctwa. Włączyłem sobie (se) drugą płytę (pierwszą posiadam i również polecam) brytyjskiej grupy RAW MATERIAL pt. „Time Is”.

Historia jest podobna do innych grup z tego kręgu z przełomu lat 60/70. Powstali, udało im się coś nagrać, wydać w niewielkiej ilości i… koniec. Kilkaset sztuk sprzedanych płyt, rozpad… (podobnie jak INDIAN SUMMER, CZAR, CIRCUS i... setki innych grup)… A płyta RAW MATERIAL? 44 minuty muzyki, 6 rozbudowanych, psychodelicznych utworów – muzyki ponadczasowej, wzorcowej dla tzw. progresywnego rocka. Kłaniają się (z całym należnym szacunkiem) VAN DER GRAAF GENERATOR i stare GENESIS. Może jest bardziej spokojnie, nastrojowo, melancholijnie niż na płytach grup panów PETERA HAMMILLA i PETERA GABRIELA i… chyba jest tak do połowy płyty (głównie dwa pierwsze utwory ICE QUEEN i EMPTY HOUSES). Na płycie mamy tradycyjny i typowy dla rocka progresywnego tamtego okresu zestaw instrumentów: mocna perkusja (PAUL YOUNG…, ale to nie ten popowy z lat 80. Paul, ani nie ten z MIKE AND THE MECHANICS), świetne pasaże organowe, również kościelne (na klawiszach rewelacyjny wokalista COLIN CATT), gitary – akustyczna i elektryczna (DAVE GREENE), basowa (PHIL GUNN) oraz miejscami dominujący nad innymi instrumentami (co cieszy pańskie ucho) saksofon (MICHAEL FLETCHER – również grający na flecie).

Po długim (9 minut), dostojnym i szlachetnym utworze INSOLENT LADY usłyszymy dwa trochę szybsze numery (MIRACLE WORKER i RELIGION) - w tym drugim polecam głośne, świetne partie saksofonu. Na koniec tej miejscami kolorowej, bajecznej i wspaniałej płyty – najdłuższy i najważniejszy utwór/dzieło sztuki: SUN GOD. Ponad 11 minut muzyki, która na pewno nie jest gorsza, mniej szlachetna niż DEEP PURPLE – CHILD IN TIME czy LED ZEPPELIN - STAIRWAY TO HEAVEN. I jak te dwa utwory, powinna ona znajdować się w dziale „Klasyka Muzyki Rockowej Wszech Czasów”. I nie ma to-tamto. Podobna, stopniowana dramaturgia, ten sam klimat, to samo wzruszenie i niezwykłe emocje. Pytanie tylko, ile osób się o tym przekonało, ile osób o tym wie??? Gustownie prezentuje się pomarańczowa okładka płyty, na której widnieją klepsydry (teksty dotyczą upływającego czasu, samotności, miłości – lub jej braku, a także religii). Mam nadzieję, że niedługo ktoś/gdzieś odkryje i wyda jakieś nieznane utwory przygotowywane przez grupę na trzecią płytę (marzenie…). Czy wspomniałem, że to jedna z najlepszych płyt, jakie w życiu słyszałem? Słucham jej od około 15 lat przynajmniej raz na 2 tygodnie i nadal fascynuje… Czy ktoś tak kiedyś napisze o jakiejś współczesnej płycie?.. Mam obawy…

Michał Mierzwiński


It was while trying to find some info on FLAMENGO's classic record that I read in a person's review that they reminded him of RAW MATERIAL. I had never heard of that band as far as I could remember so I investigated and found out they released two studio albums (1970 / 1971) and then disappeared. The Gnosis site that rates albums fairly hard had this second record rated much higher than the first but also at an avareage rating of 11 out of 16 making this one a must have according to the experts. I wasn't blown away by it that's for sure but it is a solid 4 stars in my world. I'm very pleased to own it and the sax really reminds me of Ian McDonald's work on KING CRIMSON's debut.
"Ice Queen" opens with the wind blowing then the music kicks in and takes over. This reminds me of early KING CRIMSON then the vocals follow. Love when it settles 1 1/2 minutes in and the wind returns. Contrasts continue. A jazzy interlude before 3 minutes with piano. The wind is back 4 minutes in then it kicks in again. Flute arrives after 5 minutes. "Empty Houses" opens with guitar and drums as the sax joins in. Passionate vocals a minute in. The sax replaces the vocals. Great sound after 4 1/2 minutes, quite powerful. The vocals are back after 6 minutes along with the organ. This is great right to the end. "Insolent Lady" features acoustic guitar and reserved vocals early on. Flute and bass help out too. Mellow stuff. The piano replaces the vocals then it kicks in with sax 2 1/2 minutes in. Vocals follow. A silent calm before 4 1/2 minutes then strummed guitar takes over followed by piano then organ as it builds. Drums and sax follow then vocals after 7 minutes.

"Miracle Worker" is just a pleasure to listen to instrumentally. The sax, keyboards and guitar especially. "Religion" is an uptempo vocal track with blasting sax and a catchy rhythm. "Sun God" is the over 11 minute closer. It's fairly laid back to start then reserved vocals come in before 1 1/2 minutes. A change before 4 minutes as it picks up and turns fuller. It settles again after 5 minutes. I like it ! Intricate guitar and a dreamy sound here then back to the opening soundscape after 7 1/2 minutes as themes are repeated.

Well worth checking out if your into KING CRIMSON or VDGG.

Mellotron Storm



..::TRACK-LIST::..

1. Ice Queen 6:42
2. Empty Houses 7:29
3. Insolent Lady (8:51)
- By The Way
- Small Thief
- Insolent Lady
4. Miracle Worker 4:45
5. Religion 4:25
6. Sun God (11:14)
- Awakening
- Realisation
- Worship

Bonus Track B-side, 1971:
7. Ride on Pony 3:18



..::OBSADA::..

Vocals, Keyboards - Colin Catt
Percussion - Paul Young
Saxophone, Flute, Vocals - Michael Fletscher
Bass Guitar, Acoustic Guitar - Phil Gunn
Electric Guitar, Acoustic Guitar - Dave Greene




https://www.youtube.com/watch?v=Fm_Ex5HLhH8



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

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


..::OPIS::..

Nowa, LIMITOWANA edycja z utworem dodatkowym. Wydany oryginalnie w 1971 roku przez RCA Neon, drugi album w karierze Raw Material to jeden z najwspanialszych (mało znanych) progresywnych tytułów nagranych w Wielkiej Brytanii!
Długie, kompleksowe kompozycje, wpadające z miejsca 'w ucho' melodie, przejrzyste aranżacje i pełne, rockowe brzmienie. Gitary, saksofon, flet, melotron, organy... Całość przypominała nagrania bardzo wczesnych Genesis i Van Der Graaf Generator - ze szczyptą Jethro Tull i King Crimson. To jest absolutnie OBLIGATORYJNA pozycja dla każdego miłośnika progresywnych brzmień z przełomu lat 60-tych i 70-tych! Dodatkowo wydany wyłącznie na singlu, nigdy wcześniej nie wznowiony cover Free - 'Ride On Pony' z 1971!

JL

Tak się ostatnio zastanawiałem, w co się wpakowałem pisząc o moich ukochanych płytach z kręgu starego progresywnego rocka. Dlaczego? Sam postawiłem się w takiej oto sytuacji, że pisząc o tych płytach jestem zdany tylko na zachwyty i różne pozytywy – czyli używam mojej jasnej strony mocy. A że posiadam również ciemną jej stronę (ci co mnie znają wiedzą to aż za dobrze) korciło mnie, aby komuś tak w recenzji dokopać, poszukać negatywów, popastwić się… (o wiele łatwiej się wtedy pisze…, a i nic tak nie cieszy jak małe torturki…???) Szukałem w całej swojej kolekcji płyty, nad którą mógłbym się w tym miejscu słodko poznęcać (oczywiście ze starego rocka… Zresztą ja chyba za wiele innych płyt nie posiadam). Szukałem, szukałem i… nie znalazłem. Najpierw mnie to zasmuciło (torturki), ale po pewnym czasie zdałem sobie (se - jestem z Kociewia!) sprawę, że to jednak szczęście - ogromne szczęście - posiadać prawie tysiąc wspaniałych płyt z gatunku muzyki tzw. rockowej i przeszła mi chęć złośliwego krytykanctwa. Włączyłem sobie (se) drugą płytę (pierwszą posiadam i również polecam) brytyjskiej grupy RAW MATERIAL pt. „Time Is”.

Historia jest podobna do innych grup z tego kręgu z przełomu lat 60/70. Powstali, udało im się coś nagrać, wydać w niewielkiej ilości i… koniec. Kilkaset sztuk sprzedanych płyt, rozpad… (podobnie jak INDIAN SUMMER, CZAR, CIRCUS i... setki innych grup)… A płyta RAW MATERIAL? 44 minuty muzyki, 6 rozbudowanych, psychodelicznych utworów – muzyki ponadczasowej, wzorcowej dla tzw. progresywnego rocka. Kłaniają się (z całym należnym szacunkiem) VAN DER GRAAF GENERATOR i stare GENESIS. Może jest bardziej spokojnie, nastrojowo, melancholijnie niż na płytach grup panów PETERA HAMMILLA i PETERA GABRIELA i… chyba jest tak do połowy płyty (głównie dwa pierwsze utwory ICE QUEEN i EMPTY HOUSES). Na płycie mamy tradycyjny i typowy dla rocka progresywnego tamtego okresu zestaw instrumentów: mocna perkusja (PAUL YOUNG…, ale to nie ten popowy z lat 80. Paul, ani nie ten z MIKE AND THE MECHANICS), świetne pasaże organowe, również kościelne (na klawiszach rewelacyjny wokalista COLIN CATT), gitary – akustyczna i elektryczna (DAVE GREENE), basowa (PHIL GUNN) oraz miejscami dominujący nad innymi instrumentami (co cieszy pańskie ucho) saksofon (MICHAEL FLETCHER – również grający na flecie).

Po długim (9 minut), dostojnym i szlachetnym utworze INSOLENT LADY usłyszymy dwa trochę szybsze numery (MIRACLE WORKER i RELIGION) - w tym drugim polecam głośne, świetne partie saksofonu. Na koniec tej miejscami kolorowej, bajecznej i wspaniałej płyty – najdłuższy i najważniejszy utwór/dzieło sztuki: SUN GOD. Ponad 11 minut muzyki, która na pewno nie jest gorsza, mniej szlachetna niż DEEP PURPLE – CHILD IN TIME czy LED ZEPPELIN - STAIRWAY TO HEAVEN. I jak te dwa utwory, powinna ona znajdować się w dziale „Klasyka Muzyki Rockowej Wszech Czasów”. I nie ma to-tamto. Podobna, stopniowana dramaturgia, ten sam klimat, to samo wzruszenie i niezwykłe emocje. Pytanie tylko, ile osób się o tym przekonało, ile osób o tym wie??? Gustownie prezentuje się pomarańczowa okładka płyty, na której widnieją klepsydry (teksty dotyczą upływającego czasu, samotności, miłości – lub jej braku, a także religii). Mam nadzieję, że niedługo ktoś/gdzieś odkryje i wyda jakieś nieznane utwory przygotowywane przez grupę na trzecią płytę (marzenie…). Czy wspomniałem, że to jedna z najlepszych płyt, jakie w życiu słyszałem? Słucham jej od około 15 lat przynajmniej raz na 2 tygodnie i nadal fascynuje… Czy ktoś tak kiedyś napisze o jakiejś współczesnej płycie?.. Mam obawy…

Michał Mierzwiński


It was while trying to find some info on FLAMENGO's classic record that I read in a person's review that they reminded him of RAW MATERIAL. I had never heard of that band as far as I could remember so I investigated and found out they released two studio albums (1970 / 1971) and then disappeared. The Gnosis site that rates albums fairly hard had this second record rated much higher than the first but also at an avareage rating of 11 out of 16 making this one a must have according to the experts. I wasn't blown away by it that's for sure but it is a solid 4 stars in my world. I'm very pleased to own it and the sax really reminds me of Ian McDonald's work on KING CRIMSON's debut.
"Ice Queen" opens with the wind blowing then the music kicks in and takes over. This reminds me of early KING CRIMSON then the vocals follow. Love when it settles 1 1/2 minutes in and the wind returns. Contrasts continue. A jazzy interlude before 3 minutes with piano. The wind is back 4 minutes in then it kicks in again. Flute arrives after 5 minutes. "Empty Houses" opens with guitar and drums as the sax joins in. Passionate vocals a minute in. The sax replaces the vocals. Great sound after 4 1/2 minutes, quite powerful. The vocals are back after 6 minutes along with the organ. This is great right to the end. "Insolent Lady" features acoustic guitar and reserved vocals early on. Flute and bass help out too. Mellow stuff. The piano replaces the vocals then it kicks in with sax 2 1/2 minutes in. Vocals follow. A silent calm before 4 1/2 minutes then strummed guitar takes over followed by piano then organ as it builds. Drums and sax follow then vocals after 7 minutes.

"Miracle Worker" is just a pleasure to listen to instrumentally. The sax, keyboards and guitar especially. "Religion" is an uptempo vocal track with blasting sax and a catchy rhythm. "Sun God" is the over 11 minute closer. It's fairly laid back to start then reserved vocals come in before 1 1/2 minutes. A change before 4 minutes as it picks up and turns fuller. It settles again after 5 minutes. I like it ! Intricate guitar and a dreamy sound here then back to the opening soundscape after 7 1/2 minutes as themes are repeated.

Well worth checking out if your into KING CRIMSON or VDGG.

Mellotron Storm



..::TRACK-LIST::..

1. Ice Queen 6:42
2. Empty Houses 7:29
3. Insolent Lady (8:51)
- By The Way
- Small Thief
- Insolent Lady
4. Miracle Worker 4:45
5. Religion 4:25
6. Sun God (11:14)
- Awakening
- Realisation
- Worship

Bonus Track B-side, 1971:
7. Ride on Pony 3:18



..::OBSADA::..

Vocals, Keyboards - Colin Catt
Percussion - Paul Young
Saxophone, Flute, Vocals - Michael Fletscher
Bass Guitar, Acoustic Guitar - Phil Gunn
Electric Guitar, Acoustic Guitar - Dave Greene




https://www.youtube.com/watch?v=Fm_Ex5HLhH8



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

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


..::OPIS::..

Minimalistyczne szaleństwo, matematyczna i post-rockowa precyzja, eksplozja, werbalna kwasowość.

Jeden z najlepszych dotychczasowych albumów tego tria, porównywalny z takimi perełkami jak 'At Action Park' i '1000 Hurts'.
Nie ma tu ani jednego niewypału!

FA

Shellac shaved off a few layers of fat for Dude Incredible. The change suits them, although it’s less a change and more a re-discovery of something they once did so well. Gone are the eight-minute-plus opening tracks, gone are the leaden riffs that dragged Excellent Italian Greyhound to its knees. Instead, this record is nine songs of mercilessly lean rock spat out in a half hour and change. This isn’t the sound of a group in its comfort zone, despite appearances to the contrary: Shellac’s status as ATP house band may have been fun as hell as a gig—especially when given carte blanche to bring along pals like Oxbow and Mission of Burma whenever they liked—but the gig eventually grew staid, similar to acts that endlessly trawl the reunion circuit, especially considering that new Shellac songs don’t exactly appear very often. Still, appearances can be deceptive, and those ATP shows were often as bone-crunchingly brilliant, disruptive, and hilarious as any of their other appearances.

Despite all that—this is Shellac’s first album in seven years, following another seven-year gap between their prior two records—Dude Incredible sounds surprisingly vital. The songs came together in a piecemeal style, from sessions at Steve Albini’s Electrical Audio studios over the past few years. There’s an overall focus to the record that belies its haphazard construction, with the second half of the record even bearing a dash of conceptual thinking in its suite of “surveyor”-themed songs (a notion Albini has already batted away as “circumstantial”). Dude Incredible further demonstrates how remarkably patient this band can be; the riffing that drives the Bob Weston-fronted “Compliant” is controlled and targeted on precision, with all three band members locked around a feeling of anticipation that only gets loosened in a burst of seconds-long anger at its close. It’s such an unusual structure—all build, and a payoff so brief it barely exists—that it’s hard to know whether to feel shortchanged or to marvel at their restraint.

Sending out confusing signals is all part of the Shellac regime and always has been, but here it’s faster, funnier, and delivered with far more impact than on Greyhound. The riffing on “Dude Incredible” and “The People’s Microphone” is among their finest guitar work to date; the former is all meatheaded grind morphing into all-out battle charge, with Albini yelling and straining over the top, sounding like he’s lost in a state of total release, while the latter is all twisted, knotty confusion, full of bursts of sublime repetition and turns you never anticipate coming around the bend. The overriding feeling is of all three members locking together so tightly because of a compulsion to be in this spot, offloading a whole load of pain and anger onto the world. It’s a very male energy, of course—the idea of Albini being in touch with his feminine side is amusing, to say the least—but at least he can joke about it, as there’s a reason his song about sexual intercourse, “You Came In Me”, is all over in a little over two minutes.

Something that’s radically shifted on this record is in its weightiest piece, which previously found form in extended works such as the opening cuts of Terraform and Greyhound. Here, it’s spread out over several tracks beginning with “All the Surveyors”, a song about the occupation of many of the Founding Fathers, that lands somewhere between absurdity (medieval chants, Albini cawing like a bird) and heads-down heft that pins you to the mat and never lets go. The bird noises even feel like a callback to one of their heaviest (and best) moments, the thunderous “Wingwalker”. Another echo of the past comes in “Gary”, with Albini again focussing on life in a small American city (Gary, Indiana, in this case) just as he did in a more brutal way on Big Black’s “Jordan, Minnesota”. It’s the quietest moment on the album, but the level of tension remains the same, especially as Albini positively seethes through its central lyric.

What’s most impressive here, and what ties Shellac to their former peers who are either long gone at this point or grinding through the reunion treadmill, is the level of commitment involved. Albini’s a sweaty mess, Weston’s bass only gains more meat to it over the years, and Todd Trainer remains a drummer whose every hit sounds like it hurts a hundred times more than the last. It’s like they took a look at what they were doing and pulled everything apart, rediscovering the level of discomfort that drives them, and working out why they really need to be doing this in the process. Prior records often contained a track or two that were lost somewhere between inspiration, endurance tests, and technical feats (“Didn't We Deserve a Look at You the Way You Really Are” from Terraform ticks all those boxes), but there’s none of that here. Instead, Shellac go straight for your throat and don't loosen their grip until the bitter end.

Nick Neyland



..::TRACK-LIST::..

1. Dude Incredible 06:00
2. Compliant 03:38
3. You Came In Me 02:06
4. Riding Bikes 05:28
5. All the Surveyors 03:20
6. The People's Microphone 03:13
7. Gary 04:00
8. Mayor/Surveyor 01:41
9. Surveyor 03:12



..::OBSADA::..

Steve Albini - guitar, vocals
Todd Trainer - drums, vocals
Bob Weston - bass, vocals




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



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

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


..::OPIS::..

Minimalistyczne szaleństwo, matematyczna i post-rockowa precyzja, eksplozja, werbalna kwasowość.

Jeden z najlepszych dotychczasowych albumów tego tria, porównywalny z takimi perełkami jak 'At Action Park' i '1000 Hurts'.
Nie ma tu ani jednego niewypału!

FA

Shellac shaved off a few layers of fat for Dude Incredible. The change suits them, although it’s less a change and more a re-discovery of something they once did so well. Gone are the eight-minute-plus opening tracks, gone are the leaden riffs that dragged Excellent Italian Greyhound to its knees. Instead, this record is nine songs of mercilessly lean rock spat out in a half hour and change. This isn’t the sound of a group in its comfort zone, despite appearances to the contrary: Shellac’s status as ATP house band may have been fun as hell as a gig—especially when given carte blanche to bring along pals like Oxbow and Mission of Burma whenever they liked—but the gig eventually grew staid, similar to acts that endlessly trawl the reunion circuit, especially considering that new Shellac songs don’t exactly appear very often. Still, appearances can be deceptive, and those ATP shows were often as bone-crunchingly brilliant, disruptive, and hilarious as any of their other appearances.

Despite all that—this is Shellac’s first album in seven years, following another seven-year gap between their prior two records—Dude Incredible sounds surprisingly vital. The songs came together in a piecemeal style, from sessions at Steve Albini’s Electrical Audio studios over the past few years. There’s an overall focus to the record that belies its haphazard construction, with the second half of the record even bearing a dash of conceptual thinking in its suite of “surveyor”-themed songs (a notion Albini has already batted away as “circumstantial”). Dude Incredible further demonstrates how remarkably patient this band can be; the riffing that drives the Bob Weston-fronted “Compliant” is controlled and targeted on precision, with all three band members locked around a feeling of anticipation that only gets loosened in a burst of seconds-long anger at its close. It’s such an unusual structure—all build, and a payoff so brief it barely exists—that it’s hard to know whether to feel shortchanged or to marvel at their restraint.

Sending out confusing signals is all part of the Shellac regime and always has been, but here it’s faster, funnier, and delivered with far more impact than on Greyhound. The riffing on “Dude Incredible” and “The People’s Microphone” is among their finest guitar work to date; the former is all meatheaded grind morphing into all-out battle charge, with Albini yelling and straining over the top, sounding like he’s lost in a state of total release, while the latter is all twisted, knotty confusion, full of bursts of sublime repetition and turns you never anticipate coming around the bend. The overriding feeling is of all three members locking together so tightly because of a compulsion to be in this spot, offloading a whole load of pain and anger onto the world. It’s a very male energy, of course—the idea of Albini being in touch with his feminine side is amusing, to say the least—but at least he can joke about it, as there’s a reason his song about sexual intercourse, “You Came In Me”, is all over in a little over two minutes.

Something that’s radically shifted on this record is in its weightiest piece, which previously found form in extended works such as the opening cuts of Terraform and Greyhound. Here, it’s spread out over several tracks beginning with “All the Surveyors”, a song about the occupation of many of the Founding Fathers, that lands somewhere between absurdity (medieval chants, Albini cawing like a bird) and heads-down heft that pins you to the mat and never lets go. The bird noises even feel like a callback to one of their heaviest (and best) moments, the thunderous “Wingwalker”. Another echo of the past comes in “Gary”, with Albini again focussing on life in a small American city (Gary, Indiana, in this case) just as he did in a more brutal way on Big Black’s “Jordan, Minnesota”. It’s the quietest moment on the album, but the level of tension remains the same, especially as Albini positively seethes through its central lyric.

What’s most impressive here, and what ties Shellac to their former peers who are either long gone at this point or grinding through the reunion treadmill, is the level of commitment involved. Albini’s a sweaty mess, Weston’s bass only gains more meat to it over the years, and Todd Trainer remains a drummer whose every hit sounds like it hurts a hundred times more than the last. It’s like they took a look at what they were doing and pulled everything apart, rediscovering the level of discomfort that drives them, and working out why they really need to be doing this in the process. Prior records often contained a track or two that were lost somewhere between inspiration, endurance tests, and technical feats (“Didn't We Deserve a Look at You the Way You Really Are” from Terraform ticks all those boxes), but there’s none of that here. Instead, Shellac go straight for your throat and don't loosen their grip until the bitter end.

Nick Neyland



..::TRACK-LIST::..

1. Dude Incredible 06:00
2. Compliant 03:38
3. You Came In Me 02:06
4. Riding Bikes 05:28
5. All the Surveyors 03:20
6. The People's Microphone 03:13
7. Gary 04:00
8. Mayor/Surveyor 01:41
9. Surveyor 03:12



..::OBSADA::..

Steve Albini - guitar, vocals
Todd Trainer - drums, vocals
Bob Weston - bass, vocals




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



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

..::INFO::..

---------------------------------------------------------------------
Mark Knopfler - Live in Copenhagen 1996 - (2 CD)
---------------------------------------------------------------------

Artist...............: Mark Knopfler
Album................: Live in Copenhagen 1996
Genre................: Rock
Source...............: CD
Year.................: 1996
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 60-63 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: DGTECH-Unofficial Release

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

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

1. Mark Knopfler - Intro [00:49]
2. Mark Knopfler - Darling pretty [04:22]
3. Mark Knopfler - Walk of life [05:11]
4. Mark Knopfler - Imelda [06:55]
5. Mark Knopfler - The bug [05:03]
6. Mark Knopfler - Rüdiger [06:46]
7. Mark Knopfler - Je suis désolé [06:11]
8. Mark Knopfler - Calling Elvis [09:25]
9. Mark Knopfler - I'm the fool [05:21]
10. Mark Knopfler - Last exit to Brooklyn [02:36]
11. Mark Knopfler - Romeo and Juliet [07:35]
12. Mark Knopfler - Sultans of swing [15:44]

Playing Time.........: 01:16:03
Total Size...........: 489,26 MB

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

1. Mark Knopfler - Done with Bonaparte [06:56]
2. Mark Knopfler - Father and Son [00:52]
3. Mark Knopfler - Golden Heart [05:06]
4. Mark Knopfler - Cannibals [07:12]
5. Mark Knopfler - Telegraph Road [15:38]
6. Mark Knopfler - Brothers in Arms [08:49]
7. Mark Knopfler - Money for Nothing [06:11]
8. Mark Knopfler - Ole, Ole, Ole [02:48]
9. Mark Knopfler - The Long Highway [04:31]
10. Mark Knopfler - Going Home [05:25]

Playing Time.........: 01:03:33
Total Size...........: 396,67 MB

Recorded live in Copenhagen at "The Forum", June 10, 1996.
Except 2.09 & 2.10 recorded live in Vaison-la-romaine at "Théatre Antique", August 3, 1996

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


..::OPIS::..

To album, którego trzeba posłuchać wielokrotnie, aby wychwycić wszystkie zawiłości i niuanse, które się na nim znajdują.
Wszyscy członkowie zespołu grają niezwykle technicznie, co tylko dowodzi siły Truth Corroded.
A czy to się komuś podoba czy też nie to już jego osobisty dramat...

FA


The phenomenal new album from Australian Death Thrashers TRUTH CORRODED.


'Bloodlands is a resounding statement of irrepressible brutality. Truth Corroded aren’t just masters of relentless riffs that maul and delight equal measure, they also unleash a wealth of invention'

Metal Hammer



..::TRACK-LIST::..

1. To the Carnal Earth 04:20
2. Bloodlands 04:17
3. Conquest of Divide 04:27
4. Victims Left Lepers 04:23
5. Bloodlands 00:32
6. The Storm 05:49
7. Of Open Eyes and Willing Hands 02:45
8. The End of He Who Reigns 04:11
9. I Once Breathed 09:44



..::OBSADA::..

Jason North - Vocals
Greg Shaw - Bass
Trent Simpson - Guitar
Kevin Talley - Drums

Corey J Davis - lead guitar on 'To The Carnal Earth', 'Conquest of Divide', 'The Storm' and 'The End of He Who Reigns'
Ryan Knight lead guitar on 'The Leeches Feed'
Terrance Hobbs lead guitar on 'To The Carnal Earth'
Stephen Carpenter second guitar on 'I Once Breathed'

Guest Vocals - Mark Kloeppel on 'Of Open Eyes and Willing Hands'
Rebecca Pengelley on 'The Storm' and 'I Once Breathed'
Tyson Braithwaite and Trent Simpson on 'The End Of He Who Reigns'



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



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

...( Info )...

Artist: Sarah Menescal
Title: Moonlight Dreams
Year: 2025
Genre: Lounge, Bossa Nova, Pop
Duration: 00:33:03
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

• 01. Sarah Menescal - Believe (2:11)
• 02. Sarah Menescal - Vogue (2:39)
• 03. Sarah Menescal - Underneath Your Clothes (2:58)
• 04. Sarah Menescal - Complicated (3:06)
• 05. Sarah Menescal - Bleeding Love (2:29)
• 06. Sarah Menescal - 2 Become 1 (2:54)
• 07. Sarah Menescal - Look What You've Done (1:58)
• 08. Sarah Menescal - Only Girl (In the World) (3:27)
• 9. Sarah Menescal - Kiss Me (2:12)
• 10. Sarah Menescal - All I Wanna Do (3:38)
• 11. Sarah Menescal, Luca Giacco - My Boo (2:59)
• 12. Sarah Menescal - Jenny From The Block (2:33)

..::INFO::..

Po siedmioletniej przerwie od pełnoprawnego wydawnictwa, Lily Allen wraca z albumem West End Girl, który stanowi coś znacznie więcej niż tylko kolejny muzyczny krążek. To opowieść — często o cichych cierpieniach, momentach przejścia i introspekcji podana w formie muzycznej, która nie boi się być surowa. Od pierwszych dźwięków słyszymy głos Allen w centrum, otoczony przez oszczędną produkcję: subtelne bity, akustyczne akcenty i elektronika służą tu jako tło, nie jako efektowny popowy ornament. To zabieg, który działa na korzyść autorki - nic nie odciąga uwagi od tego, co ma do powiedzenia. W efekcie płyta zyskuje atmosferę bliską dziennikowi, rozmowie w cztery oczy, której słuchacz jest przypadkowym świadkiem. Piąty album studyjny Lily Allen.

Title: West End Girl

Artist: Lily Allen

Country: Wielka Brytania

Year: 2025

Genre: Indie

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.West End Girl
2.Ruminating
3.Sleepwalking
4.Tennis
5.Madeline
6.Relapse
7.Pussy Palace
8.4chan Stan
9.Nonmonogamummy (Feat. Specialist Moss)
10.Just Enough
11.Dallas Major
12.Beg For Me
13.Let You W/In
14.Fruityloop

..::INFO::..

Blue Meanies to amerykański zespół ska-core / ska-punkowy, założony w 1989 roku w Illinois (USA). Byli jedną z bardziej bezkompromisowych formacji trzeciej fali ska, łącząc ska, punk i hardcore w szybkie, chaotyczne i bardzo energetyczne utwory, często z udziałem sekcji dętej. Zespół działał głównie w latach 1989–2001, później okazjonalnie się reaktywując (m.in. na festiwalach). W ich dyskografii znajdują się albumy takie jak „Peace Love Groove”, „Kiss Your Ass Goodbye”, „Full Throttle” czy „The Post Wave”. Blue Meanies zasłynęli z intensywnych koncertów i bezkompromisowego podejścia do brzmienia, zajmując ważne miejsce w historii amerykańskiej sceny ska-punkowej. Wstawka zawiera trzeci album studyjny zespołu.

Title: The Post Wave

Artist: Blue Meanies

Country: USA

Year: 2000

Genre: Ska-Punk

Format / Codec: MP3
Audio bitrate: 160 Kbps

..::TRACK-LIST::..

1.Lay It Out
2.All The Same
3.Chemicals
4.Do The Tightbelt
5.Mama Getting High On Chardonnay
6.She Breathes Fire
7.TV Girl
8.Big Brother's Watching
9.Lose Your Mind
10.Employee 00765
11.Camaro Man
12.Creepy (Feat. Jimmy Flame)
13. When We Were Queens