...( Info )...
Genre: Deathcore
Country of Artist (Band): Italy
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 35:07

...( TrackList )...
01. Disrupt
02. New Warfare
03. Terminal Dusk
04. Where Hope Goes To Die
05. Ever Before, Never Again
06. Cult Of The Dead
07. Entombed
08. Lost Between Phases
09. Fading Trace
10. Overturn

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): Denmark / France / Switzerland
Year of Release: 2013-2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps

...( TrackList )...
2013 - Now or Never
2016 - II
2020 - III
2025 - The Legacy

...( Info )...

Artist...............: Reba McEntire
Album................: Starting Over (30th Anniversary Edition)
Genre................: Country
Year.................: 2026
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Reba McEntire - Talking In Your Sleep (Album Version)
002. Reba McEntire - Please Come To Boston (Album Version)
003. Reba McEntire - On My Own (Album Version)
004. Reba McEntire - I Won't Mention It Again (Album Version)
005. Reba McEntire - You're No Good (Album Version)
006. Reba McEntire - Ring On Her Finger, Time On Her Hands
007. Reba McEntire - Five Hundred Miles Away From Home (Album Version)
008. Reba McEntire - Starting Over Again
009. Reba McEntire - You Keep Me Hangin' On (Album Version)
010. Reba McEntire - By The Time I Get To Phoenix (Album Version)
011. Reba McEntire - Heat Wave
012. Reba McEntire - Misty Blue
013. Reba McEntire - Tulsa Time

...( Info )...


Artist...............: Al Doum & The Faryds
Album................: Ipnagogico
Genre................: Psychedelic jazz , spiritual jazz , experimental fusion
Year.................: 2026
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. Al Doum & The Faryds - Arise I
002. Al Doum & The Faryds - Arise II
003. Al Doum & The Faryds - Borracho
004. Al Doum & The Faryds - Money I
005. Al Doum & The Faryds - Money II
006. Al Doum & The Faryds - Party Cells
007. Al Doum & The Faryds - Utopia I
008. Al Doum & The Faryds - Utopia II

...( Info )...

Artist...............: The Damned
Album................: Not Like Everybody Else
Genre................: Rock
Year.................: 2026
Codec................: Reference libFLAC 1.5

...( TrackList )...

001. The Damned - There's a Ghost in My House
002. The Damned - Summer in the City
003. The Damned - Making Time
004. The Damned - Gimme Danger
005. The Damned - See Emily Play
006. The Damned - I'm Not Like Everybody Else
007. The Damned - Heart Full of Soul
008. The Damned - You Must Be a Witch
009. The Damned - When I Was Young
010. The Damned - The Last Time

...( Info )...
Genre: Black/Death Metal
Country of Artist (Band): France
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 47:51

...( TrackList )...
01. In Aeternum
02. Octavianus
03. Caesar Divi Filius
04. Gladium Stringere
05. Triumvirat
06. Dura Lex Sed Lex
07. Mortem Proditorum
08. Mylae Invicta
09. Dedecus Magni Lepidi
10. Ultimum Bellum
11. Pax Romana

...( Info )...
Genre: Death/Thrash Metal
Country of Artist (Band): Brazil
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 29:52

...( TrackList )...
01. Genocidal Litany
02. Vengeance of the Inferno
03. Death is Salvation
04. Cold Bite of Steel
05. Severed
06. Lusting for Death
07. Revel in Violence
08. Final Sacrament

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): Germany
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 22:48

...( TrackList )...
01. Heavy Metal Punks
02. Kill the Genocide
03. When I Die
04. Madness
05. Camp Crystal Lake
06. Rock'n'Roll Hell
07. F.D.G.A.
08. Emslandpunk

...( Info )...
Genre: Death/Thrash Metal
Country of Artist (Band): South Korea
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 25:07

...( TrackList )...
01. Embrace the Unknown
02. Ruins of Myself
03. Remnant of the Void
04. Empire of Lies
05. Human Plague
06. Born to Decay
07. Cacophony of Chaos

...( Info )...
Genre: Death/Doom Metal
Country of Artist (Band): Colombia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 43:53

...( TrackList )...
01. Apolón Lykaion
02. Elegía
03. La muerte de José María Córdova
04. Oración en Lebadea
05. La última cacería

...( Info )...

Artist: Van Morrison
Album: Somebody Tried To Sell Me A Bridge
Genre: Blues-Rock
Publishing: Townsend Music Limited - Orangefield Records
Source: Qobuz
Duration: 01:19:49
Audio: FLAC 24/96, Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01 - Kidney Stew Blues 03:45
02 - King For A Day Blues 03:46
03 - Snatch It Back And Hold It 03:58
04 - Deep Blue Sea (feat. Elvin Bishop) 04:18
05 - Ain't That A Shame 03:27
06 - Madame Butterfly Blues (feat. Elvin Bishop) 05:46
07 - Can't Help Myself (feat. Taj Mahal) 03:42
08 - Betty And Dupree (feat. Taj Mahal) 04:59
09 - Delia's Gone 03:20
10 - On A Monday 03:21
11 - Monte Carlo Blues 02:54
12 - When It's Love Time (feat. Elvin Bishop) 02:58
13 - Loving Memories (feat. Elvin Bishop) 04:31
14 - Play The Honky Tonks (feat. Elvin Bishop) 03:50
15 - (Go To The) High Place In Your Mind (feat. John Allair) 03:53
16 - Social Climbing Scene 03:43
17 - Somebody Tried To Sell Me A Bridge 04:01
18 - You're The One (feat. Elvin Bishop) 04:25
19 - I'm Ready (feat. Buddy Guy) 03:29
20 - Rock Me Baby (feat. Buddy Guy) 05:32

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


..::OPIS::..

Reissue of the debut full length. With this release this Greek band have got a killer reputation worldwide! This is brutal slam death metal in all its aspects!

A must have for fans of DEVOURMENT, early DYING FETUS, INTERNAL BLEEDING, PYREXIA, REPUDILATION!



The world of Ultra Guttural Slam Brutal Death is perhaps a path that has been overly trodden, with the genre having become a true underground trend, naturally infested by the usual bands of incompetents (see Waking The Cadaver or Digested Flesh) that turn it into a jumble of growl, clanking sounds, and riffs that are truly played (and composed) with the feet. Moreover, the new Brutal productions leave me completely unsatisfied—aside from the excessive sound cleanliness, in addition, the sound of the guitars and bass is compressed to infinity, losing all depth, and the drum sound becomes akin to a frying pan. The growl, always given the foremost position and obviously modified, seems always to sound the same.

Among many such artless and soulless bands, there are, however, a few bands that at least offer technically adept works, varied in tempo and breaks, and recorded with the good old old-school method. Among these, Human Rejection can certainly be cited, presenting us with an excellent work "Torture Of Decimation." The artwork itself says it all, it is a Brutal Death based on lyrics that present any type of violence, physical or not. After a dark intro, we immediately launch into Illuminated Human Parts, with massive and well-distorted guitar riffs, sometimes hardcore-tinged, but still always based on good concentrated technique. The drum work is simply excellent, with a powerful sound and varied use of cymbals, snare, and double bass drum, not forgetting the various breaks and small solos. The bass might be somewhat in the background sound-wise, but it is very structured and fast technically. The vocalist's growl might be the band's double-edged sword. The gurgle is indeed hissing, devoid of any darkness, rotten to infinity but perhaps fairly monotonous and especially indecipherable (even if you try hard, all you’ll understand is GRUIIIIIGRUIIIII).

The album flows through 10 rather short songs, with evident grind and hardcore influences, which then culminate in fast blast beats and intricate Brutal rhythms. Despite the work's very scant originality, this album is markedly superior to any product from those 10,000 Slam bands born each day, producing unspeakable rubbish that ends up boring and utterly alienating the brutal-listener. Moreover, this band explicitly makes its Grind and Death Metal influences felt, which, combined and with a sprinkle of hardcore, form the slam itself.

In conclusion, an excellent album, highly recommended for fans of the genre.

Gueddo666



..::TRACK-LIST::..

1. Intro 0:30
2. Illuminated Human Parts 2:36
3. Last Abortion Mass 3:21
4. Vomit From Above 2:22
5. Torture Of Decimation 2:04
6. Total Decay 2:28
7. World Sickness 2:22
8. Abnormal Abrogade 2:48
9. Eternal Hypnosis 3:01
10. Under Pressure 2:32



..::OBSADA::..

Vocals - Alex
Drums - Chris
Guitar - Dennis
Bass - Stelios




https://www.youtube.com/watch?v=vEEfFk4m1Sc



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

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


..::OPIS::..

Reissue of the debut full length. With this release this Greek band have got a killer reputation worldwide! This is brutal slam death metal in all its aspects!

A must have for fans of DEVOURMENT, early DYING FETUS, INTERNAL BLEEDING, PYREXIA, REPUDILATION!



The world of Ultra Guttural Slam Brutal Death is perhaps a path that has been overly trodden, with the genre having become a true underground trend, naturally infested by the usual bands of incompetents (see Waking The Cadaver or Digested Flesh) that turn it into a jumble of growl, clanking sounds, and riffs that are truly played (and composed) with the feet. Moreover, the new Brutal productions leave me completely unsatisfied—aside from the excessive sound cleanliness, in addition, the sound of the guitars and bass is compressed to infinity, losing all depth, and the drum sound becomes akin to a frying pan. The growl, always given the foremost position and obviously modified, seems always to sound the same.

Among many such artless and soulless bands, there are, however, a few bands that at least offer technically adept works, varied in tempo and breaks, and recorded with the good old old-school method. Among these, Human Rejection can certainly be cited, presenting us with an excellent work "Torture Of Decimation." The artwork itself says it all, it is a Brutal Death based on lyrics that present any type of violence, physical or not. After a dark intro, we immediately launch into Illuminated Human Parts, with massive and well-distorted guitar riffs, sometimes hardcore-tinged, but still always based on good concentrated technique. The drum work is simply excellent, with a powerful sound and varied use of cymbals, snare, and double bass drum, not forgetting the various breaks and small solos. The bass might be somewhat in the background sound-wise, but it is very structured and fast technically. The vocalist's growl might be the band's double-edged sword. The gurgle is indeed hissing, devoid of any darkness, rotten to infinity but perhaps fairly monotonous and especially indecipherable (even if you try hard, all you’ll understand is GRUIIIIIGRUIIIII).

The album flows through 10 rather short songs, with evident grind and hardcore influences, which then culminate in fast blast beats and intricate Brutal rhythms. Despite the work's very scant originality, this album is markedly superior to any product from those 10,000 Slam bands born each day, producing unspeakable rubbish that ends up boring and utterly alienating the brutal-listener. Moreover, this band explicitly makes its Grind and Death Metal influences felt, which, combined and with a sprinkle of hardcore, form the slam itself.

In conclusion, an excellent album, highly recommended for fans of the genre.

Gueddo666



..::TRACK-LIST::..

1. Intro 0:30
2. Illuminated Human Parts 2:36
3. Last Abortion Mass 3:21
4. Vomit From Above 2:22
5. Torture Of Decimation 2:04
6. Total Decay 2:28
7. World Sickness 2:22
8. Abnormal Abrogade 2:48
9. Eternal Hypnosis 3:01
10. Under Pressure 2:32



..::OBSADA::..

Vocals - Alex
Drums - Chris
Guitar - Dennis
Bass - Stelios




https://www.youtube.com/watch?v=vEEfFk4m1Sc



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

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


..::OPIS::..

POKUTA narodziła się w Rzeszowie w 2024 roku jako projekt studyjny. Trzy osobowości, których inspiracje wykraczają daleko poza typowy black metal. Szczerzy i bezkompromisowi, eksplorujący głębię własnych umysłów.

Muzykę na debiutancki album zatytułowany 'Metanoia' skomponował Mateusz Jakubski, a proces rejestracji odbył się w 2025 roku w Warhouse oraz Lunar Studio. Całość zmiksował i zmasterował HW. Okładkę i layoutu wykonał Mateusz Jakubski.

polecam fanom Mayhem, Xasthur oraz Inquisition...



..::TRACK-LIST::..

1. Mortal Coil 05:36
2. Eternal Illusion 03:26
3. Immoral 07:53
4. Metanoia 02:37
5. Desire 05:02
6. The Chosen One 04:24



..::OBSADA::..

Mateusz Jakubski - guitars, bass, keyboards, b. vocals
Adam Kanas - vocals

Kacper 'WeTh' Bak - session drums




https://www.youtube.com/watch?v=u7Wgyooa6Us



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

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


..::OPIS::..

POKUTA narodziła się w Rzeszowie w 2024 roku jako projekt studyjny. Trzy osobowości, których inspiracje wykraczają daleko poza typowy black metal. Szczerzy i bezkompromisowi, eksplorujący głębię własnych umysłów.

Muzykę na debiutancki album zatytułowany 'Metanoia' skomponował Mateusz Jakubski, a proces rejestracji odbył się w 2025 roku w Warhouse oraz Lunar Studio. Całość zmiksował i zmasterował HW. Okładkę i layoutu wykonał Mateusz Jakubski.

polecam fanom Mayhem, Xasthur oraz Inquisition...



..::TRACK-LIST::..

1. Mortal Coil 05:36
2. Eternal Illusion 03:26
3. Immoral 07:53
4. Metanoia 02:37
5. Desire 05:02
6. The Chosen One 04:24



..::OBSADA::..

Mateusz Jakubski - guitars, bass, keyboards, b. vocals
Adam Kanas - vocals

Kacper 'WeTh' Bak - session drums




https://www.youtube.com/watch?v=u7Wgyooa6Us



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

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


..::OPIS::..

Nieznany zespół, który zwrócił na siebie uwagę przede wszystkim nazwą, nagle stał się 'większym' i być może słusznie docenianym zespołem, prezentującym 'psychodeliczną pianę' na surowej, stonerowo-metalowej podstawie.



..::TRACK-LIST::..

1. Hymn to the winds 04:19
2. Future past 04:12
3. Termination of origin 06:11
4. Mound 12:28
5. Mark of cain 06:06
6. Possessed 02:54
7. In the distant sky 04:11
8. Omen 06:22
9. Sense of space 06:23



..::OBSADA::..

René Misje - Guitars, Vocals
Frode Kilvik - Bass, Vocals
Kjartan Grønhaug - Guitars

With:
Iver Sandøy - keyboards, Theremin, percussion
Cato Olaisen - drums



https://www.youtube.com/watch?v=TsE2tWHOmt8



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

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


..::OPIS::..

Nieznany zespół, który zwrócił na siebie uwagę przede wszystkim nazwą, nagle stał się 'większym' i być może słusznie docenianym zespołem, prezentującym 'psychodeliczną pianę' na surowej, stonerowo-metalowej podstawie.



..::TRACK-LIST::..

1. Hymn to the winds 04:19
2. Future past 04:12
3. Termination of origin 06:11
4. Mound 12:28
5. Mark of cain 06:06
6. Possessed 02:54
7. In the distant sky 04:11
8. Omen 06:22
9. Sense of space 06:23



..::OBSADA::..

René Misje - Guitars, Vocals
Frode Kilvik - Bass, Vocals
Kjartan Grønhaug - Guitars

With:
Iver Sandøy - keyboards, Theremin, percussion
Cato Olaisen - drums



https://www.youtube.com/watch?v=TsE2tWHOmt8



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

..::INFO::..

---------------------------------------------------------------------
The London Symphony Orchestra - Classic Rock Countdown
---------------------------------------------------------------------

Artist...............: The London Symphony Orchestra
Album................: Classic Rock Countdown
Genre................: Instrumental Rock
Source...............: CD
Year.................: 1989
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 50 %)
Channels.............: Stereo / 48000 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: CBS

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

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

1. The London Symphony Orchestra - It's a Sin [04:58]
2. The London Symphony Orchestra - Everytime [04:35]
3. The London Symphony Orchestra - She's Not There [03:55]
4. The London Symphony Orchestra - Don't Give Up [06:29]
5. The London Symphony Orchestra - You're the Voice [04:27]
6. The London Symphony Orchestra - We Don't Need Another Hero[04:52]
7. The London Symphony Orchestra - The Final Countdown [05:25]
8. The London Symphony Orchestra - Take My Breath Away [04:33]
9. The London Symphony Orchestra - You Can Call Me Al [04:50]
10. The London Symphony Orchestra - Lady in Red [03:49]
11. The London Symphony Orchestra - Separate Lives [04:41]
12. The London Symphony Orchestra - Abbey Road Medley [05:09]

Playing Time.........: 57:50
Total Size...........: 316,56 MB

..::INFO::..

---------------------------------------------------------------------
The London Rock Orchestra - Plays Dire Straits
---------------------------------------------------------------------

Artist...............: The London Rock Orchestra
Album................: Plays Dire Straits
Genre................: Rock
Source...............: CD
Year.................: 1999
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 59 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Disky - Netherlands

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

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

1. The London Rock Orchestra - Sultans of swing [05:28]
2. The London Rock Orchestra - Romeo & Juliet [04:04]
3. The London Rock Orchestra - Brothers in arms [05:28]
4. The London Rock Orchestra - Tunnel of love [07:23]
5. The London Rock Orchestra - Calling Elvis [04:56]
6. The London Rock Orchestra - Money for nothing [04:30]
7. The London Rock Orchestra - Portobello belle [04:33]
8. The London Rock Orchestra - Twisting by the pool [03:41]
9. The London Rock Orchestra - Solid rock [03:42]
10. The London Rock Orchestra - Telegraph road [05:15]
11. The London Rock Orchestra - Ride across the river [05:03]
12. The London Rock Orchestra - On every street [04:29]
13. The London Rock Orchestra - So far away [04:41]
14. The London Rock Orchestra - Private investigation [05:38]

Playing Time.........: 01:08:56
Total Size...........: 410,27 MB

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


..::OPIS::..

Absolutna rewelacja!
Kapitalny i obecnie autentycznie kultowy album z kręgu amerykańskiego heavy-rocka - bez wątpienia NAJLEPSZA tego typu płyta z drugiej połowy lat 70-tych! Słowo!
Z pewnością jest to pierwsza, amerykańska piątka, a może nawet 'trójka' całej dekady!
Mnóstwo ciężkich riffów; doskonałe soczyste brzmienie i zarazem zaskakująco udane kompozycje - całość brzmi jak nagrana w 1971-72 roku w profesjonalnym studio, a nie 4 lata potem na amerykańskiej prowincji! W 1976 roku nikt na świecie nie grał lepiej ciężkiego rocka! Totalna gratka dla fanów ciężkiego riffującego grania spod znaku debiutu Montrose, wczesnych Led Zeppelin, ówczesnych UFO i zapomnianych Full Moon! Nikt nie będzie zawiedziony! Aż trudno uwierzyć, że było to prywatne tłoczenie w ilości 1000 egz. - na oryginalnym winylu w idealnym stanie obecnie warte ponad 1500$! Zremasterowana edycja z 4 bonusami z wczesnych (i mniej udanych) singli z lat 1972-1973.

JL


Great American underground hard rock album out of Iowa circa 1976. A real heavy rock classic filled with inventive songwriting, intelligent lyrics and above all, top-notch guitar playing from BillyLee Janey!! The mega-rare original vinyl press on the Montross label is an all-time favorite among collectors and fetches big money nowadays. This is the official compact disc reissue containing four studio bonus tracks and 16-page full color booklet with history of the group, lyrics and rare band photos!!

- "One of the greatest hard rock albums of all time" - The Acid Archives

- "The album was first released in 1976 and is a truly phenomenal record. This is an essential, must-get release for fans of 1970's hard rock." - Roadburn

- "Truth and Janey deliver the goods perfectly." - Psychedelic Fanzine

- "The guitar work and vocals are a serious force to reckon with." - Stonerrock.com

- "If you are a dedicated 70s heavyrock fan you cant forget this fantastic album. Much highly recommended." - GL Productions



..::TRACK-LIST::..

Truth And Janey
1. Down The Road I Go 04:03
2. The Light 05:50
3. I'm Ready ( Willie Dixon cover) 03:34
4. Remember 09:04
5. No Rest For The Wicked 04:54
6. It's All Above Us 04:31
7. Ain't No Tellin (Mississippi John Hurt cover) 03:41
8. My Mind 05:55

Bonus Tracks from Early Singles:
9. Under My Thumb (The Rolling Stones cover), 1972 3:42
10. Midnight Horsemen, 1972 03:07

Truth
11. Around And Around, 1973 02:19
12. Straight Eight Pontiac, 1973 02:17

Tracks 9 & 10 originally released as single A and B-side in 1972 [Sound Communications 81472].
Tracks 11 & 12 originally released as single B and A-side in 1973 [Driving Wheel Records DWR 7301 / 7302] credited to Truth.



..::OBSADA::..

Billylee Janey - Guitar, Vocals
Steven Bock - Bass, Vocals
Denis Bunce - Drums




https://www.youtube.com/watch?v=4C5-Lbn0Ulw



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

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


..::OPIS::..

Absolutna rewelacja!
Kapitalny i obecnie autentycznie kultowy album z kręgu amerykańskiego heavy-rocka - bez wątpienia NAJLEPSZA tego typu płyta z drugiej połowy lat 70-tych! Słowo!
Z pewnością jest to pierwsza, amerykańska piątka, a może nawet 'trójka' całej dekady!
Mnóstwo ciężkich riffów; doskonałe soczyste brzmienie i zarazem zaskakująco udane kompozycje - całość brzmi jak nagrana w 1971-72 roku w profesjonalnym studio, a nie 4 lata potem na amerykańskiej prowincji! W 1976 roku nikt na świecie nie grał lepiej ciężkiego rocka! Totalna gratka dla fanów ciężkiego riffującego grania spod znaku debiutu Montrose, wczesnych Led Zeppelin, ówczesnych UFO i zapomnianych Full Moon! Nikt nie będzie zawiedziony! Aż trudno uwierzyć, że było to prywatne tłoczenie w ilości 1000 egz. - na oryginalnym winylu w idealnym stanie obecnie warte ponad 1500$! Zremasterowana edycja z 4 bonusami z wczesnych (i mniej udanych) singli z lat 1972-1973.

JL


Great American underground hard rock album out of Iowa circa 1976. A real heavy rock classic filled with inventive songwriting, intelligent lyrics and above all, top-notch guitar playing from BillyLee Janey!! The mega-rare original vinyl press on the Montross label is an all-time favorite among collectors and fetches big money nowadays. This is the official compact disc reissue containing four studio bonus tracks and 16-page full color booklet with history of the group, lyrics and rare band photos!!

- "One of the greatest hard rock albums of all time" - The Acid Archives

- "The album was first released in 1976 and is a truly phenomenal record. This is an essential, must-get release for fans of 1970's hard rock." - Roadburn

- "Truth and Janey deliver the goods perfectly." - Psychedelic Fanzine

- "The guitar work and vocals are a serious force to reckon with." - Stonerrock.com

- "If you are a dedicated 70s heavyrock fan you cant forget this fantastic album. Much highly recommended." - GL Productions



..::TRACK-LIST::..

Truth And Janey
1. Down The Road I Go 04:03
2. The Light 05:50
3. I'm Ready ( Willie Dixon cover) 03:34
4. Remember 09:04
5. No Rest For The Wicked 04:54
6. It's All Above Us 04:31
7. Ain't No Tellin (Mississippi John Hurt cover) 03:41
8. My Mind 05:55

Bonus Tracks from Early Singles:
9. Under My Thumb (The Rolling Stones cover), 1972 3:42
10. Midnight Horsemen, 1972 03:07

Truth
11. Around And Around, 1973 02:19
12. Straight Eight Pontiac, 1973 02:17

Tracks 9 & 10 originally released as single A and B-side in 1972 [Sound Communications 81472].
Tracks 11 & 12 originally released as single B and A-side in 1973 [Driving Wheel Records DWR 7301 / 7302] credited to Truth.



..::OBSADA::..

Billylee Janey - Guitar, Vocals
Steven Bock - Bass, Vocals
Denis Bunce - Drums




https://www.youtube.com/watch?v=4C5-Lbn0Ulw



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

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


..::OPIS::..

Wydany w atrakcyjnej, monochromatycznej okładce przez CBS w listopadzie 1972 roku LP Holy Mackerel zawierał kombinację amerykańskiego, folk-rockowego grania ze znacznie cięższymi, progresywnymi klimatami w klimacie wczesnych Wishbone Ash, Wild Turkey czy Hokus Poke - czego dowodem choćby genialny, blisko 8-minutowy Spanish Attraction. Tylko dla tego kapitalnego kawałka warto mieć ten CD, a to przecież nie wszystko... Pewnym problemem tego w sumie bardzo fajnego, a momentami wręcz świetnego albumu była jego zbytnia różnorodność, gdyż trudno znaleźć dwa, podobne do siebie nagrania. Warto wiedzieć, że tę progresywną, 'niemal hardrockową' grupę tworzyło trzech byłych muzyków doskonałej, psychodelicznej formacji Jason Crest (1966-1969): wokalista Terry Clark, gitarzysta Derek Smallcombe oraz perkusista Roger Siggery. W 1971 roku doskonały i niedoceniony Clark pojawił się na zrealizowanym wyłącznie w Stanach, jedynym albumie hard-rockowej grupy Orang-Utan, zaś Smallcombe zagrał na również wydanym w 1971 roku, ale tylko w Niemczech, heavy-rockowym longplayu grupy Samuel Prody. Dodatkowo dołączono rzadką B-stronę singla oraz 9 nagrań z nagranego w 1973 roku, ale wstrzymanego w ostatniej chwili (a wydanego dopiero w latach 90.) drugiego albumu zatytułowanego 'Closer To Heaven'.



Singer Terry Clarke, guitarist Derek Smallcombe and drummer Roger 'Spodge' Siggery had all played in UK psych legends Jason Crest. Following their collapse in 1969, Clark joined short-lived UK rockers Hunter, whose sole LP was released in America only under the band name Orang Utan, while his former bandmates played with High Broom, best-known for releasing a version of Dancing In The Moonlight on Island in 1970. Smallcombe then played a stint with progressive rockers Samuel Prody, whose sole LP was released in Germany only, before rejoining Clark and Siggery in 1972 to form the quintet Holy Mackerel, along with new recruits Chris Ware (guitar) and Tony Wood (bass).

Having relocated from their native Kent to rural Lancashire, they devised a set that drew on progressive, pop and country influences before starting to gig. According to their LP's sleevenotes, they 'took the Northern college circuit by storm, experimenting and refining their music until they were ready for their album'. Having come to the attention of producers Roger Easterby and Des Champ (best-known for making hits with pop artists including Vanity Fare, Deep Feeling, Dr Marigold's Prescription and Chicory Tip), they were signed to CBS and entered the studio. A single coupling Rock-A-Bye and New Black Shoes was issued in late October 1972, preceding the appearance of their self-titled LP in November.

Unfortunately, as 1973 came around the market for such records was fast shrinking, and it sold poorly despite an enthusiastic endorsement from John Peel ('A group to watch and, of course, a good one to listen to as well') and 45 releases in Germany, Turkey and elsewhere. They appeared on Peel's show in November, performing Waterfall, Spanish Attraction, Oh! and Trie Boy & The Mekon, but it made little difference to their success. They did go on to record a follow-up album, entitled Closer To Heaven, but CBS didn't release it and it languished until finally appearing in 1993.

Having departed CBS, the band remained with Easterby and Champ for three further singles that appeared on the producers' own Santa Ponsa label (a subsidiary of Pye), but none of those charted, so they finally called it quits in mid-1974.



..::TRACK-LIST::..

1. Going To The Country
2. Virginia Water
3. Spanish Attraction
4. Rock-A-Bye
5. Oh!
6. Where You At All
7. New Black Shoes
8. The Boy And The mekon

Bonus Tracks:
9. Rock On (Single B-side, 1973)
10. Gemini
11. Ballad Of Joe McCann
12. Burglar Man
13. Blue Eyed Redeemer
14. (Closer To Heaven On) Judgement Day
15. Hard Times Good Times
16. Near You
17. Waterfall
18. Tennesse Waltz (Single A-side, 1974)

Tracks 10-17 Taken From Unreleased 2nd Album 'Closer To Heaven'



..::OBSADA::..

Bass - Tony Wood
Drums - Roger Siggery
Lead Guitar, Acoustic Guitar - Chris Ware
Lead Guitar, Acoustic Guitar, Harmonica, Vocals - Derek Smallcombe
Lead Vocals - Terry Clark




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



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

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


..::OPIS::..

Wydany w atrakcyjnej, monochromatycznej okładce przez CBS w listopadzie 1972 roku LP Holy Mackerel zawierał kombinację amerykańskiego, folk-rockowego grania ze znacznie cięższymi, progresywnymi klimatami w klimacie wczesnych Wishbone Ash, Wild Turkey czy Hokus Poke - czego dowodem choćby genialny, blisko 8-minutowy Spanish Attraction. Tylko dla tego kapitalnego kawałka warto mieć ten CD, a to przecież nie wszystko... Pewnym problemem tego w sumie bardzo fajnego, a momentami wręcz świetnego albumu była jego zbytnia różnorodność, gdyż trudno znaleźć dwa, podobne do siebie nagrania. Warto wiedzieć, że tę progresywną, 'niemal hardrockową' grupę tworzyło trzech byłych muzyków doskonałej, psychodelicznej formacji Jason Crest (1966-1969): wokalista Terry Clark, gitarzysta Derek Smallcombe oraz perkusista Roger Siggery. W 1971 roku doskonały i niedoceniony Clark pojawił się na zrealizowanym wyłącznie w Stanach, jedynym albumie hard-rockowej grupy Orang-Utan, zaś Smallcombe zagrał na również wydanym w 1971 roku, ale tylko w Niemczech, heavy-rockowym longplayu grupy Samuel Prody. Dodatkowo dołączono rzadką B-stronę singla oraz 9 nagrań z nagranego w 1973 roku, ale wstrzymanego w ostatniej chwili (a wydanego dopiero w latach 90.) drugiego albumu zatytułowanego 'Closer To Heaven'.



Singer Terry Clarke, guitarist Derek Smallcombe and drummer Roger 'Spodge' Siggery had all played in UK psych legends Jason Crest. Following their collapse in 1969, Clark joined short-lived UK rockers Hunter, whose sole LP was released in America only under the band name Orang Utan, while his former bandmates played with High Broom, best-known for releasing a version of Dancing In The Moonlight on Island in 1970. Smallcombe then played a stint with progressive rockers Samuel Prody, whose sole LP was released in Germany only, before rejoining Clark and Siggery in 1972 to form the quintet Holy Mackerel, along with new recruits Chris Ware (guitar) and Tony Wood (bass).

Having relocated from their native Kent to rural Lancashire, they devised a set that drew on progressive, pop and country influences before starting to gig. According to their LP's sleevenotes, they 'took the Northern college circuit by storm, experimenting and refining their music until they were ready for their album'. Having come to the attention of producers Roger Easterby and Des Champ (best-known for making hits with pop artists including Vanity Fare, Deep Feeling, Dr Marigold's Prescription and Chicory Tip), they were signed to CBS and entered the studio. A single coupling Rock-A-Bye and New Black Shoes was issued in late October 1972, preceding the appearance of their self-titled LP in November.

Unfortunately, as 1973 came around the market for such records was fast shrinking, and it sold poorly despite an enthusiastic endorsement from John Peel ('A group to watch and, of course, a good one to listen to as well') and 45 releases in Germany, Turkey and elsewhere. They appeared on Peel's show in November, performing Waterfall, Spanish Attraction, Oh! and Trie Boy & The Mekon, but it made little difference to their success. They did go on to record a follow-up album, entitled Closer To Heaven, but CBS didn't release it and it languished until finally appearing in 1993.

Having departed CBS, the band remained with Easterby and Champ for three further singles that appeared on the producers' own Santa Ponsa label (a subsidiary of Pye), but none of those charted, so they finally called it quits in mid-1974.



..::TRACK-LIST::..

1. Going To The Country
2. Virginia Water
3. Spanish Attraction
4. Rock-A-Bye
5. Oh!
6. Where You At All
7. New Black Shoes
8. The Boy And The mekon

Bonus Tracks:
9. Rock On (Single B-side, 1973)
10. Gemini
11. Ballad Of Joe McCann
12. Burglar Man
13. Blue Eyed Redeemer
14. (Closer To Heaven On) Judgement Day
15. Hard Times Good Times
16. Near You
17. Waterfall
18. Tennesse Waltz (Single A-side, 1974)

Tracks 10-17 Taken From Unreleased 2nd Album 'Closer To Heaven'



..::OBSADA::..

Bass - Tony Wood
Drums - Roger Siggery
Lead Guitar, Acoustic Guitar - Chris Ware
Lead Guitar, Acoustic Guitar, Harmonica, Vocals - Derek Smallcombe
Lead Vocals - Terry Clark




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



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

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


..::OPIS::..

Ścieżka filmowa do obrazu, który nigdy nie powstał. Inspirowana obrazami Edwarda Hoppera i filmami Davida Lyncha.


Wraz z Nocturnal Avenue, swoim najnowszym minialbumem, Fabian Filiks zaprasza słuchaczy na seans przesycony dźwiękiem syntezatorów i mroczną elegancją. Nie bez powodu pozwoliłam sobie tutaj na określenie prezentowanej muzyki „seansem” – Nocturnal Avenue charakteryzuje wprost fantastyczna narracyjność, a sześciu ścieżkom zebranym na wydawnictwie nie można odmówić filmowego klimatu. Budowane stopniowo pejzaże dźwięku w kolejnych kompozycjach wciągają słuchaczy prosto w spowite mgłą ulice i do zadymionych jazz clubów.

Do pewnego momentu napięcie na albumie wzrasta z każdą kolejną ścieżką, na sile przybiera również intensywność muzyki. Tytułowy utwór, początkowo zdominowany przez klawisze, przygotowuje słuchacza na bardziej rozbudowane, w pewnym sensie wymykające spod panowania artysty kompozycje. Brzmienie wzmacniają wówczas przejmujące pierwszy plan syntezatory. Nocturnal Avenue rozwija zatem intrygujący dźwiękowy pejzaż, by wkrótce przenieść odbiorcę w mocno Last Call at the Diner – dość spokojny, podszyty specyficzną nostalgią kawałek.

Smoke and Mirrors oraz Into the Night nadają materiałowi mroku i przestrzeni. Im dalej zresztą w roztaczany krajobraz, tym więcej niepokojących tonów. Klimatyczne synthy nie przestają intrygować, a kompozycjom towarzyszy subtelna melodia na klawiszach. Warto poświęcić też uwagę bardziej złożonemu Obsession, charakteryzującemu się urzekającą, wręcz zmysłową atmosferą. Numer stanowi udane połączenie organicznych dźwięków (pianino, saksofon) z chłodem syntezatorów, pełniąc jednocześnie rolę swoistego punktu kulminacyjnego wydawnictwa. Domknięcie następuje wreszcie w End Credits, który tajemniczym, niemal onirycznym nastrojem stopniowo wycisza album.

Jest u Filiksa mrocznie, jednak nie ponuro. W jego muzyce można wyczuć szczere emocje, bez przesady czy egzaltacji. Opiera się ona raczej na prostych środkach wyrazu, trzymając się przy tym z dala od skrajnego minimalizmu. Kompozycjom nie można odmówić filmowego klimatu (tytuł końcowego utworu zdaje się to jedynie potwierdzać!), który sprawia, że znakomicie sprawdziłyby się w roli ścieżki dźwiękowej . Do tego złożoność tej muzyki sprawia, że z każdym odsłuchem można odkryć i docenić coś nowego. Sprawdźcie koniecznie i pozwólcie sobie zabłądzić podczas nocnej przechadzki po Nocturnal Avenue – może i was wciągnie na dobre...

Annika



..::TRACK-LIST::..

1. Nocturnal Avenue 02:47
2. Last Call at the Diner 03:27
3. Smoke and Mirrors 04:13
4. Into the Night 05:14
5. Obsession 04:12
6. End Credits 03:42

Bonus Track:
7:30 02:37



..::OBSADA::..

Music By [Written], Recorded By, Producer [Produced] - Fabian Filiks
Saxophone [Additional] - Marius Trapp (tracks: 1, 3, 5)




https://www.youtube.com/watch?v=tk-F5TrhcY0



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

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


..::OPIS::..

Ścieżka filmowa do obrazu, który nigdy nie powstał. Inspirowana obrazami Edwarda Hoppera i filmami Davida Lyncha.


Wraz z Nocturnal Avenue, swoim najnowszym minialbumem, Fabian Filiks zaprasza słuchaczy na seans przesycony dźwiękiem syntezatorów i mroczną elegancją. Nie bez powodu pozwoliłam sobie tutaj na określenie prezentowanej muzyki „seansem” – Nocturnal Avenue charakteryzuje wprost fantastyczna narracyjność, a sześciu ścieżkom zebranym na wydawnictwie nie można odmówić filmowego klimatu. Budowane stopniowo pejzaże dźwięku w kolejnych kompozycjach wciągają słuchaczy prosto w spowite mgłą ulice i do zadymionych jazz clubów.

Do pewnego momentu napięcie na albumie wzrasta z każdą kolejną ścieżką, na sile przybiera również intensywność muzyki. Tytułowy utwór, początkowo zdominowany przez klawisze, przygotowuje słuchacza na bardziej rozbudowane, w pewnym sensie wymykające spod panowania artysty kompozycje. Brzmienie wzmacniają wówczas przejmujące pierwszy plan syntezatory. Nocturnal Avenue rozwija zatem intrygujący dźwiękowy pejzaż, by wkrótce przenieść odbiorcę w mocno Last Call at the Diner – dość spokojny, podszyty specyficzną nostalgią kawałek.

Smoke and Mirrors oraz Into the Night nadają materiałowi mroku i przestrzeni. Im dalej zresztą w roztaczany krajobraz, tym więcej niepokojących tonów. Klimatyczne synthy nie przestają intrygować, a kompozycjom towarzyszy subtelna melodia na klawiszach. Warto poświęcić też uwagę bardziej złożonemu Obsession, charakteryzującemu się urzekającą, wręcz zmysłową atmosferą. Numer stanowi udane połączenie organicznych dźwięków (pianino, saksofon) z chłodem syntezatorów, pełniąc jednocześnie rolę swoistego punktu kulminacyjnego wydawnictwa. Domknięcie następuje wreszcie w End Credits, który tajemniczym, niemal onirycznym nastrojem stopniowo wycisza album.

Jest u Filiksa mrocznie, jednak nie ponuro. W jego muzyce można wyczuć szczere emocje, bez przesady czy egzaltacji. Opiera się ona raczej na prostych środkach wyrazu, trzymając się przy tym z dala od skrajnego minimalizmu. Kompozycjom nie można odmówić filmowego klimatu (tytuł końcowego utworu zdaje się to jedynie potwierdzać!), który sprawia, że znakomicie sprawdziłyby się w roli ścieżki dźwiękowej . Do tego złożoność tej muzyki sprawia, że z każdym odsłuchem można odkryć i docenić coś nowego. Sprawdźcie koniecznie i pozwólcie sobie zabłądzić podczas nocnej przechadzki po Nocturnal Avenue – może i was wciągnie na dobre...

Annika



..::TRACK-LIST::..

1. Nocturnal Avenue 02:47
2. Last Call at the Diner 03:27
3. Smoke and Mirrors 04:13
4. Into the Night 05:14
5. Obsession 04:12
6. End Credits 03:42

Bonus Track:
7:30 02:37



..::OBSADA::..

Music By [Written], Recorded By, Producer [Produced] - Fabian Filiks
Saxophone [Additional] - Marius Trapp (tracks: 1, 3, 5)




https://www.youtube.com/watch?v=tk-F5TrhcY0



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

..::INFO::..

---------------------------------------------------------------------
Mick Jagger - First Night In Osaka
(The 1988 Japanese Broadcast)
---------------------------------------------------------------------

Artist...............: Mick Jagger
Album................: First Night In Osaka
Genre................: Rock
Source...............: WEB
Year.................: 2025-10-10
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 71 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Iconography

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

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

1. Mick Jagger - Throwaway [05:19]
2. Mick Jagger - Tumbling Dice [04:06]
3. Mick Jagger - Miss You [05:58]
4. Mick Jagger - Just Another Night [04:28]
5. Mick Jagger - Harlem Shuffle [04:22]
6. Mick Jagger - Party Doll [05:08]
7. Mick Jagger - Start Me Up [04:07]
8. Mick Jagger - It's Only Rock 'N' Roll But I Like It (with Tina Turner)[04:58]
9. Mick Jagger - (I Can't Get No) Satisfaction [07:02]
10. Mick Jagger - Honky Tonk Women [03:53]
11. Mick Jagger - Throwaway (Version 2) [05:24]
12. Mick Jagger - Bitch [03:36]
13. Mick Jagger - Let’s Spend The Night Together [03:24]
14. Mick Jagger - Lonely At The Top [04:08]
15. Mick Jagger - Beast Of Burden [05:03]

Playing Time.........: 01:11:01
Total Size...........: 509,43 MB

..::INFO::..

---------------------------------------------------------------------
Slash - Live At The Roxy 25.9.14 - (2 CD)
(Featuring Myles Kennedy & The Conspirators)
---------------------------------------------------------------------

Artist...............: Slash
Album................: Live At The Roxy 25.9.14
Genre................: Rock
Source...............: CD
Year.................: 2015
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 72-76 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Armoury Records

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

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

1. Slash - Ghost [03:46]
2. Slash - Nightrain [05:00]
3. Slash - Halo [03:15]
4. Slash - Back From Cali [03:51]
5. Slash - Stone Blind [03:44]
6. Slash - You Could Be Mine [05:50]
7. Slash - Doctor Alibi [03:08]
8. Slash - You're Crazy [03:26]
9. Slash - Wicked Stone [06:02]
10. Slash - 30 Years To Life [05:01]
11. Slash - Rocket Queen [17:39]

Playing Time.........: 01:00:48
Total Size...........: 463,11 MB

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

1. Slash - Bent To Fly [05:00]
2. Slash - Starlight [05:36]
3. Slash - You're A Lie [03:34]
4. Slash - World On Fire [05:01]
5. Slash - Anastasia [06:56]
6. Slash - Sweet Child O' Mine [06:29]
7. Slash - Slither [09:01]
8. Slash - Paradise City [07:49]

Playing Time.........: 49:31
Total Size...........: 360,21 MB

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


..::OPIS::..

Season Of Mist zatrudnił do reklamy swojego nowego wydawnictwa nie byle kogo. W materiałach reklamowych przewijają się takie nazwy jak Vital Remains, Nile, z okładki straszy nazwisko bębniarza Tima Yeunga, który wiąże się z nazwą Hate Eternal. Dodatkowo możemy tu i ówdzie przeczytać, że to death metalowy album z blackową duszą.

Czyli już wiecie, że coś gniecie mnie w tyłek… Ten, tego… Może nie do końca chcę się przyczepić, ponieważ faktycznie, zespół ma wszystkie atuty, które mogą przesądzić o powodzeniu. Sprawni instrumentaliści, w miarę nośne riffy, dobre brzmienie. Być może cybernetyczna okładka nie do końca pasuje do stylistyki, sama w sobie jest jednak niezła, więc może być. Wbrew zapewnieniom wydawcy, wydaje mi się, że zespół na wskroś przesiąkniety jest death metalem i nawet sporadyczne, wokalne nawiązania do czarnej sztuki nie zmieniają tego faktu. A że detah miłuję jak Oleńka Kmicica, więc nie mam z tym problemu. Muzycznie zespół realizuje się w samym centrum death metalowej zawieruchy. Gęsta, dynamiczna gra, dużo blastów, które teoretycznie umiejscawiają zespół w scenie amerykańskiej. To trochę zmyłka, bo muzyka brzmi zgoła europejsko. Szczególnie riffy mają taki klimat. Większość materiału pruje do przodu aż miło, czasami trafia się jednak lekkie wybicie z rytmu w postaci ciekawych pomysłów (np. gitary w "Resurgence"). W takich momentach robi się smutno, bo słychać, że zespół potrafi, jednak w większej części zadowala się bardziej tradycyjnymi formami. Tu i ówdzie pojawiają się czyste, śpiewane wokale i to jest, moim zdaniem, porażka - po prostu pasują one do wykonywanej przez Council Of The Fallen muzyki jak pięść do oka. Z niczym się nie łączą, z niczego nie wynikają. No i najważniejsza rzecz - nie czuję w tej muzyce pasji. Jest znakomity, z polotem zagrany i wymuskany produkcik. Mogę posłuchać, skomplementować, ale nie czuję dreszczyku. Podobne odczucia miałem kiedyś podczas lektury płyty Internecine. Jeśli jednak lubicie profesjonalny, znakomicie wykonany death metal - polecam...)

Arek Lerch


The main reason I purchased Council of the Fallen’ album Deciphering the Soul is Tim Yeung. While I do not play any instruments I never cease to be amazed by the abilities of certain individuals like Yeung, Pete Sandoval, Gene Hoglan, and Tony Laureano among a short list of truly amazing drummers. My other rationale for this albums purchase was titles to the albums songs like Longing for Clarity, No Vision of Prophecy, and Falling Through Decades. My hope in purchasing the album was to find above average lyrics that got away from tired allusions towards Satan, butchery, and puke. It seems that what I got was far better than originally considered especially for the reason that I would have been content hearing Tim Yeung pound on the drum kit.

The album opens with a quirky little violin intro, then kicks into the first song called Longing for Clarity. Immediately the listener is hit with Tim Yeung’s amazing beats, which are enhanced by Sean Baxter’s deep Death vox. The guitar starts out crisp and brutal and there is a killer melody that can be heard on the left hand speaker or earphone depending on what you are listening to the CD on, starting at 0:54 (Sorry us musical laymen do not know what that type of playing is called). Along with Baxters’s Death vox is Kevin Quirion who adds guitar riffs and Black Metal vox to give the music/lyrics an evil effect. One can only imagine that this concept is based on lyrics that seem to be about becoming an ego-less creative individual that takes on challenges of character development despite living in a world “Among sycophants and egoists.” Then at the 2:06 mark the song turn’s into a thrash jam enhanced by another ass kicking melody at 2:38. Overall this song is a damned good and an exceptional way to begin an album with an average intro.

The third song is Acceptance in Silence. Lyrically in the first verse this song appears to be about the search for meaning in life and how religion is a false form of acceptance. Yet, the speaker seems to give up on his search and decides that his answer will come in death, which seems a bit petty and naive. Despite the lyrics the song has another nice melody at the 0:24 mark that is enhanced by Yeung’s drumming. Then at 1:59 the song breaks into a duel melody followed by double vocals that sound like a sung bellow. This is followed by a return to the original riff at 2:59 mixed with Death and Black Metal vox. Pretty damn nice is all I gotta say… by the way did I mention that Yeung is insane on the double bass.

The fourth song is No Vision of Prophecy. Lyrically this seems to be a tune about turning away from the superstitions that are written in the bible that have become age old teachings despite what the various sciences are discovering. Overall the lyrics are not the best but they seem to get the point across, which is to wake the fuck up and question what they inculcate into the fabric of your cranium. Musically this song opens with a great quick melody that would make the guys in Amon Amarth proud. Again Tim Yeung pounds away at the double bass like a race horse fleeing a torturous trainer. At 0:57 the song becomes death metal due to insane quick drums, spiraling guitar and deep vocals by Baxter. Also, Quirion does a good job of adding a flare to the lyrics by offering some good Black Metal screeches. Overall this is the most melodic song of the first half the record.

Scourge the Enemy comes next and it kicks off fast and thrashy before hitting a Death Metal stride at the 0:25 mark. This is followed by a nice melody at 0:58. The jam is straight forward until the 2:22 point when the bass kicks in and changes the tune into a classic head bang fest enhanced by some spirited duel vocals from Baxter and Quirion. The song trails off with some nice acoustic guitar that is a fade in to the song Distant Memories. Lyrically this song is about the USA and how they love to oppress other countries with their military might for economic profit.

Distant Memories is a tune about getting old and searching for meaning at the same time, but never finding it. What makes this song killer is the demonic Black Metal vox of Quirion when he gurgles in an almost sarcastic tone “So I sit heat waiting for the end to come. No one knows the answers.” This is followed by Baxter’s deep frustrated Death metal grunt of “Nothing left to dream of, Drowned by the Night.” At 1:38 they do a double bellow of “Memories are distant, memories are black” with Black Metal vocals chanting the same thing in twisted fashion. Musically the song is filled with quick tempos and thick riffs blended with Tim Yeung tremendous playing to compliment the other musicians.

Tempting Angelic Pride is the seventh song. Lyrically it is about casting aside Christianity and finding within yourself God. It walks the path of treading on old with references to followers being sedated and repressed, which is a true, but tired refrain. Still, what makes this song great are the thrash harmonies, Death and Black vox, and of course that guy Yeung. At 1:10 the song gets amazingly quick in a Brutal Death style, that is marked by a melodic tempo change at 1:33 before kicking back into a blend over the remainder of the song between death and melody riffs. Another augmentation to the song is Baxter’s deep spoken vocals. This song like its predecessor seems to close with a nice bit of acoustic guitar playing with the difference being a violin tune at the same time. Then at the 3:06 point it kicks into a slab of Death Metal and melody that will break your fucking head banging neck.

Resurgence comes in next with classic Death Metal technique via deep Death vox, demonic Black vox, intense guitar, bass, and lightening drumming. Then at 1:45 it starts to taper off. At 2:13 it turns into a head bang event with a double kick and various changes in tempo that never cease till the song ends. Overall this is probably my least liked song on this album but it still better than most average tunes by a slew of other bands that will go unnamed.

Falling Through Decades is in the ninth slot, and right from the start the first word that comes to mind is Slayer. It is heavy and fast enough to kill your spine, and any riffing Council of the Fallen may have borrowed from their cover tune practice of Slayer turn’s into their sound at 0:49 with a nice Death Metal melody. As always Yeung’s drumming makes you wonder if he smokes crack and Baxter’s deep Death Metal vox are killer. Lyrically this song falls in line with the theme of the album, which is the search for life’s meaning before succumbing to death.

Repetition Breeds Insanity is a song that is pure Death Metal. It is filled with quick guitar, vocals, bass, and drums. Then in Council’s distinctive style it becomes a melodic thrash festival filled with riff changes starting at 1:51. Then at 2:20 a good guitar solo kicks the song into a thrash riff that thunder’s away at 2:48. What makes this part damned heavy is the whispered vocals done by Baxter. Then at 3:15 it becomes a Death Metal jam.

The outro to this album is a nice soothing acoustic guitar piece. Another thing that makes this album sound exceptional is the production that was done by Eric Rutan, formerly of Morbid Angel. Being a past member of Morbid Angel does not make him a production guru but it does mean that he recognizes how Death Metal albums should sound.

Council of the Fallen is a band who should be heard due to their exceptional musical abilities and creativeness. Just hearing them play makes me wish I had learned how to play an instrument that way I could offer more vivid descriptions and technicality for what they have achieved on their sophomore effort. Council of the Fallen is a band who deserves your money at the local CD store, and they exemplify why CD burning sucks at their level of income versus those bands that have achieved more acclaim with less talent for spinning out what the mainstream market consumes.

RapeofNanking



..::TRACK-LIST::..

1. Intro 00:22
2. Longing for Clarity 03:44
3. Acceptance in Silence 04:18
4. No Vision of Prophecy 03:50
5. Scourge of Thy Enemy 04:08
6. Distant Memories 04:09
7. Tempting Angelic Pride 04:10
8. Resurgence 03:35
9. Falling Through Decades 03:22
10. Repetition Breeds Insanity 04:08
11. Outro 01:53



..::OBSADA::..

Sean Baxter - Bass, Violin, Vocals, Guitars, Lyrics
Shawn Ohtani - Guitars
Kevin Quirion - Vocals, Guitars, Lyrics



https://www.youtube.com/watch?v=_noDO2vGVR4



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

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


..::OPIS::..

Season Of Mist zatrudnił do reklamy swojego nowego wydawnictwa nie byle kogo. W materiałach reklamowych przewijają się takie nazwy jak Vital Remains, Nile, z okładki straszy nazwisko bębniarza Tima Yeunga, który wiąże się z nazwą Hate Eternal. Dodatkowo możemy tu i ówdzie przeczytać, że to death metalowy album z blackową duszą.

Czyli już wiecie, że coś gniecie mnie w tyłek… Ten, tego… Może nie do końca chcę się przyczepić, ponieważ faktycznie, zespół ma wszystkie atuty, które mogą przesądzić o powodzeniu. Sprawni instrumentaliści, w miarę nośne riffy, dobre brzmienie. Być może cybernetyczna okładka nie do końca pasuje do stylistyki, sama w sobie jest jednak niezła, więc może być. Wbrew zapewnieniom wydawcy, wydaje mi się, że zespół na wskroś przesiąkniety jest death metalem i nawet sporadyczne, wokalne nawiązania do czarnej sztuki nie zmieniają tego faktu. A że detah miłuję jak Oleńka Kmicica, więc nie mam z tym problemu. Muzycznie zespół realizuje się w samym centrum death metalowej zawieruchy. Gęsta, dynamiczna gra, dużo blastów, które teoretycznie umiejscawiają zespół w scenie amerykańskiej. To trochę zmyłka, bo muzyka brzmi zgoła europejsko. Szczególnie riffy mają taki klimat. Większość materiału pruje do przodu aż miło, czasami trafia się jednak lekkie wybicie z rytmu w postaci ciekawych pomysłów (np. gitary w "Resurgence"). W takich momentach robi się smutno, bo słychać, że zespół potrafi, jednak w większej części zadowala się bardziej tradycyjnymi formami. Tu i ówdzie pojawiają się czyste, śpiewane wokale i to jest, moim zdaniem, porażka - po prostu pasują one do wykonywanej przez Council Of The Fallen muzyki jak pięść do oka. Z niczym się nie łączą, z niczego nie wynikają. No i najważniejsza rzecz - nie czuję w tej muzyce pasji. Jest znakomity, z polotem zagrany i wymuskany produkcik. Mogę posłuchać, skomplementować, ale nie czuję dreszczyku. Podobne odczucia miałem kiedyś podczas lektury płyty Internecine. Jeśli jednak lubicie profesjonalny, znakomicie wykonany death metal - polecam...)

Arek Lerch


The main reason I purchased Council of the Fallen’ album Deciphering the Soul is Tim Yeung. While I do not play any instruments I never cease to be amazed by the abilities of certain individuals like Yeung, Pete Sandoval, Gene Hoglan, and Tony Laureano among a short list of truly amazing drummers. My other rationale for this albums purchase was titles to the albums songs like Longing for Clarity, No Vision of Prophecy, and Falling Through Decades. My hope in purchasing the album was to find above average lyrics that got away from tired allusions towards Satan, butchery, and puke. It seems that what I got was far better than originally considered especially for the reason that I would have been content hearing Tim Yeung pound on the drum kit.

The album opens with a quirky little violin intro, then kicks into the first song called Longing for Clarity. Immediately the listener is hit with Tim Yeung’s amazing beats, which are enhanced by Sean Baxter’s deep Death vox. The guitar starts out crisp and brutal and there is a killer melody that can be heard on the left hand speaker or earphone depending on what you are listening to the CD on, starting at 0:54 (Sorry us musical laymen do not know what that type of playing is called). Along with Baxters’s Death vox is Kevin Quirion who adds guitar riffs and Black Metal vox to give the music/lyrics an evil effect. One can only imagine that this concept is based on lyrics that seem to be about becoming an ego-less creative individual that takes on challenges of character development despite living in a world “Among sycophants and egoists.” Then at the 2:06 mark the song turn’s into a thrash jam enhanced by another ass kicking melody at 2:38. Overall this song is a damned good and an exceptional way to begin an album with an average intro.

The third song is Acceptance in Silence. Lyrically in the first verse this song appears to be about the search for meaning in life and how religion is a false form of acceptance. Yet, the speaker seems to give up on his search and decides that his answer will come in death, which seems a bit petty and naive. Despite the lyrics the song has another nice melody at the 0:24 mark that is enhanced by Yeung’s drumming. Then at 1:59 the song breaks into a duel melody followed by double vocals that sound like a sung bellow. This is followed by a return to the original riff at 2:59 mixed with Death and Black Metal vox. Pretty damn nice is all I gotta say… by the way did I mention that Yeung is insane on the double bass.

The fourth song is No Vision of Prophecy. Lyrically this seems to be a tune about turning away from the superstitions that are written in the bible that have become age old teachings despite what the various sciences are discovering. Overall the lyrics are not the best but they seem to get the point across, which is to wake the fuck up and question what they inculcate into the fabric of your cranium. Musically this song opens with a great quick melody that would make the guys in Amon Amarth proud. Again Tim Yeung pounds away at the double bass like a race horse fleeing a torturous trainer. At 0:57 the song becomes death metal due to insane quick drums, spiraling guitar and deep vocals by Baxter. Also, Quirion does a good job of adding a flare to the lyrics by offering some good Black Metal screeches. Overall this is the most melodic song of the first half the record.

Scourge the Enemy comes next and it kicks off fast and thrashy before hitting a Death Metal stride at the 0:25 mark. This is followed by a nice melody at 0:58. The jam is straight forward until the 2:22 point when the bass kicks in and changes the tune into a classic head bang fest enhanced by some spirited duel vocals from Baxter and Quirion. The song trails off with some nice acoustic guitar that is a fade in to the song Distant Memories. Lyrically this song is about the USA and how they love to oppress other countries with their military might for economic profit.

Distant Memories is a tune about getting old and searching for meaning at the same time, but never finding it. What makes this song killer is the demonic Black Metal vox of Quirion when he gurgles in an almost sarcastic tone “So I sit heat waiting for the end to come. No one knows the answers.” This is followed by Baxter’s deep frustrated Death metal grunt of “Nothing left to dream of, Drowned by the Night.” At 1:38 they do a double bellow of “Memories are distant, memories are black” with Black Metal vocals chanting the same thing in twisted fashion. Musically the song is filled with quick tempos and thick riffs blended with Tim Yeung tremendous playing to compliment the other musicians.

Tempting Angelic Pride is the seventh song. Lyrically it is about casting aside Christianity and finding within yourself God. It walks the path of treading on old with references to followers being sedated and repressed, which is a true, but tired refrain. Still, what makes this song great are the thrash harmonies, Death and Black vox, and of course that guy Yeung. At 1:10 the song gets amazingly quick in a Brutal Death style, that is marked by a melodic tempo change at 1:33 before kicking back into a blend over the remainder of the song between death and melody riffs. Another augmentation to the song is Baxter’s deep spoken vocals. This song like its predecessor seems to close with a nice bit of acoustic guitar playing with the difference being a violin tune at the same time. Then at the 3:06 point it kicks into a slab of Death Metal and melody that will break your fucking head banging neck.

Resurgence comes in next with classic Death Metal technique via deep Death vox, demonic Black vox, intense guitar, bass, and lightening drumming. Then at 1:45 it starts to taper off. At 2:13 it turns into a head bang event with a double kick and various changes in tempo that never cease till the song ends. Overall this is probably my least liked song on this album but it still better than most average tunes by a slew of other bands that will go unnamed.

Falling Through Decades is in the ninth slot, and right from the start the first word that comes to mind is Slayer. It is heavy and fast enough to kill your spine, and any riffing Council of the Fallen may have borrowed from their cover tune practice of Slayer turn’s into their sound at 0:49 with a nice Death Metal melody. As always Yeung’s drumming makes you wonder if he smokes crack and Baxter’s deep Death Metal vox are killer. Lyrically this song falls in line with the theme of the album, which is the search for life’s meaning before succumbing to death.

Repetition Breeds Insanity is a song that is pure Death Metal. It is filled with quick guitar, vocals, bass, and drums. Then in Council’s distinctive style it becomes a melodic thrash festival filled with riff changes starting at 1:51. Then at 2:20 a good guitar solo kicks the song into a thrash riff that thunder’s away at 2:48. What makes this part damned heavy is the whispered vocals done by Baxter. Then at 3:15 it becomes a Death Metal jam.

The outro to this album is a nice soothing acoustic guitar piece. Another thing that makes this album sound exceptional is the production that was done by Eric Rutan, formerly of Morbid Angel. Being a past member of Morbid Angel does not make him a production guru but it does mean that he recognizes how Death Metal albums should sound.

Council of the Fallen is a band who should be heard due to their exceptional musical abilities and creativeness. Just hearing them play makes me wish I had learned how to play an instrument that way I could offer more vivid descriptions and technicality for what they have achieved on their sophomore effort. Council of the Fallen is a band who deserves your money at the local CD store, and they exemplify why CD burning sucks at their level of income versus those bands that have achieved more acclaim with less talent for spinning out what the mainstream market consumes.

RapeofNanking



..::TRACK-LIST::..

1. Intro 00:22
2. Longing for Clarity 03:44
3. Acceptance in Silence 04:18
4. No Vision of Prophecy 03:50
5. Scourge of Thy Enemy 04:08
6. Distant Memories 04:09
7. Tempting Angelic Pride 04:10
8. Resurgence 03:35
9. Falling Through Decades 03:22
10. Repetition Breeds Insanity 04:08
11. Outro 01:53



..::OBSADA::..

Sean Baxter - Bass, Violin, Vocals, Guitars, Lyrics
Shawn Ohtani - Guitars
Kevin Quirion - Vocals, Guitars, Lyrics



https://www.youtube.com/watch?v=_noDO2vGVR4



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

..::INFO::..

Wykonawca: Nightfish
Typ: Album/Winyl.rip
Okładka: Tak
Gatunek: Metal
Rok: 2024
Audio kodek: mp3
Audio bitrate: 320kbps
Audio Winyl.rip:d11
Music Collection: d11

..::TRACK-LIST::..


LP.1

Side A

A1. Yesterwynde
A2. An Ocean Of Strange Islands
A3. The Antikythera Mechanism

Side B

B1. The Day Of...
B2. Perfume Of The Timeless
B3. Sway

LP.2

Side A

C1. The Children Of 'Ata
C2. Something Whispered Follow Me
C3. Spider Silk

Side B

D1. Hiraeth
D2. The Weave
D3. Lanternlight