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


..::OPIS::..

HELLS HEADBANGERS is proud to present CADAVERIC INCUBATOR's highly anticipated debut album, Sermons of the Devouring Dead. Comprising veterans of the Finnish underground, CADAVERIC INCUBATOR are a power-trio whose sole purpose is to bury the listener under miles of garbage and grime, sewage and sickness. Their long-gestating full-length debut, Sermons of the Devouring Dead comprises a dozen tracks of utterly ugly, morally bereft DEATH METAL of a most classic vintage - and authentically so. Forget about eras or scenes or geography; this is death metal for death metal maniacs, by death metal maniacs.


CADAVERIC INCUBATOR was formed in 2005 by Necroterror (bass/vocals) and Humiliator (guitar/vocals) with the help of various drummers who came and went during the band's first incarnation, which lasted around two years. The aim was to create old-school disgusting sounds influenced by early Carcass, Repulsion, Autopsy, early Xysma, Mortician, Blood, the early Mexican Disgorge, and such. No fun and no political garbage usually associated with the more grinding side of things - just raw, filthy brutality and total death! But after two demos - only the first one, Resurgence of Morbidity, was released - and countless live shows, the band split up in early 2007 due to personal problems between members.


Seven years later, in 2014, Necroterror resurrected CADAVERIC INCUBATOR by teaming up with his old comrade Pentele, who he had known from the early '90s scene - back in the deep Finnish backwoods when Necroterror played in his first-ever death metal band, Excrement, and Pentele was drumming for Carnifex and Festerday in the same area. Original founding member Humiliator was asked to join, as well, and the new demo Unburied Abominations was recorded. After several brutal live shows and a demos compilation on Terror from Hell Records, the band finally recorded 12 tracks in early 2016 for their debut album, Sermons of the Devouring Dead.


Now armed with the help of fetid fans HELLS HEADBANGERS, CADAVERIC INCUBATOR are set to smother the underground in all sorts of uncleanliness! Just a cursory read of the album's song titles should spell in no uncertain terms exactly what kind of timeless filth there is to bathe in: "Swarming Decay," "Horrific Festering Plagues," "Gravestench Asphyxiation," "Unburied Abominations," and the telltale "Conceived in Filth," among others. Heed these Sermons of the Devouring Dead and get swamped in gore!



..::TRACK-LIST::..

1. Gravestench Asphyxiation
2. Hideous Premonition
3. Cadaveric Incubator
4. The Covenant Of Gore
5. Cold In Casket
6. Rite Of Eibon
7. Massacred
8. Swarming Decay
9. Unburied Abominations
10. Conceived In Filth
11. The Undead Fiend
12. Horrific Festering Plagues

Bonus Tracks:
13. Nocturnal Corpse
14. Cadaveric Incubator Of Endoparasites (Carcass cover)


1 - 12 Sermons Of The Devouring Dead album
13 - 14 Bonus 2018 Split with Festerday



..::OBSADA::..

Pentele - Drums
Humiliator - Guitars, Vocals
Necroterror - Bass, Vocals



https://www.youtube.com/watch?v=qkIoTTwza0c


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

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


..::OPIS::..

HELLS HEADBANGERS is proud to present CADAVERIC INCUBATOR's highly anticipated debut album, Sermons of the Devouring Dead. Comprising veterans of the Finnish underground, CADAVERIC INCUBATOR are a power-trio whose sole purpose is to bury the listener under miles of garbage and grime, sewage and sickness. Their long-gestating full-length debut, Sermons of the Devouring Dead comprises a dozen tracks of utterly ugly, morally bereft DEATH METAL of a most classic vintage - and authentically so. Forget about eras or scenes or geography; this is death metal for death metal maniacs, by death metal maniacs.


CADAVERIC INCUBATOR was formed in 2005 by Necroterror (bass/vocals) and Humiliator (guitar/vocals) with the help of various drummers who came and went during the band's first incarnation, which lasted around two years. The aim was to create old-school disgusting sounds influenced by early Carcass, Repulsion, Autopsy, early Xysma, Mortician, Blood, the early Mexican Disgorge, and such. No fun and no political garbage usually associated with the more grinding side of things - just raw, filthy brutality and total death! But after two demos - only the first one, Resurgence of Morbidity, was released - and countless live shows, the band split up in early 2007 due to personal problems between members.


Seven years later, in 2014, Necroterror resurrected CADAVERIC INCUBATOR by teaming up with his old comrade Pentele, who he had known from the early '90s scene - back in the deep Finnish backwoods when Necroterror played in his first-ever death metal band, Excrement, and Pentele was drumming for Carnifex and Festerday in the same area. Original founding member Humiliator was asked to join, as well, and the new demo Unburied Abominations was recorded. After several brutal live shows and a demos compilation on Terror from Hell Records, the band finally recorded 12 tracks in early 2016 for their debut album, Sermons of the Devouring Dead.


Now armed with the help of fetid fans HELLS HEADBANGERS, CADAVERIC INCUBATOR are set to smother the underground in all sorts of uncleanliness! Just a cursory read of the album's song titles should spell in no uncertain terms exactly what kind of timeless filth there is to bathe in: "Swarming Decay," "Horrific Festering Plagues," "Gravestench Asphyxiation," "Unburied Abominations," and the telltale "Conceived in Filth," among others. Heed these Sermons of the Devouring Dead and get swamped in gore!



..::TRACK-LIST::..

1. Gravestench Asphyxiation
2. Hideous Premonition
3. Cadaveric Incubator
4. The Covenant Of Gore
5. Cold In Casket
6. Rite Of Eibon
7. Massacred
8. Swarming Decay
9. Unburied Abominations
10. Conceived In Filth
11. The Undead Fiend
12. Horrific Festering Plagues

Bonus Tracks:
13. Nocturnal Corpse
14. Cadaveric Incubator Of Endoparasites (Carcass cover)


1 - 12 Sermons Of The Devouring Dead album
13 - 14 Bonus 2018 Split with Festerday



..::OBSADA::..

Pentele - Drums
Humiliator - Guitars, Vocals
Necroterror - Bass, Vocals



https://www.youtube.com/watch?v=qkIoTTwza0c


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

..::INFO::..

Beck Hansen (ur. 8 lipca 1970 w Los Angeles jako Bek David Campbell to amerykański muzyk rockowy, piosenkarz i kompozytor, występujący pod pseudonimem Beck. Pochodzi z rodziny o korzeniach żydowskich, która przywędrowała do USA ze Szwecji. Beck uznawany jest za najbardziej eklektycznego, niespójnego i nieprzewidywalnego spośród współczesnych artystów rockowych. Choć zazwyczaj zaliczany jest do twórców indie rocka i rocka alternatywnego, to jego muzyka jest mieszaniną wielu, niekiedy bardzo od siebie odległych stylów i gatunków, takich jak: pop, folk, psychodeliczny rock, hip-hop, country, blues, rhythm and blues, funky, noise rock, progresywny rock, jazz, lo-fi, rock latynoski i muzyka etniczna. Wstawka zawiera piętnasty, najnowszy album studyjny Becka.

Title: Ride Lonesome

Artist: Beck

Country: USA

Year: 2026

Genre: Alternatywna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Ride Lonesome
2.Run Away
3.In the Night
4.Failed Words
5.Bleed
6.Disappearing Act
7.For Your Love
8.Slow Canyon
9.It Ends Right Here
10.Falling Through My Hands
11.If You Don't Know What Love Is
12.Beyond the Light

..::INFO::..

Soledad Pastorutti to jedna z najważniejszych postaci współczesnej muzyki argentyńskiej. Urodziła się 12 października 1980 roku w niewielkim miasteczku Arequito, w prowincji Santa Fe. Już od najmłodszych lat była związana z muzyką ludową, wychowując się w atmosferze silnie zakorzenionej w tradycjach folklorystycznych Argentyny. Jej talent objawił się bardzo wcześnie, a prawdziwy przełom nastąpił, gdy jako nastolatka wystąpiła na prestiżowym festiwalu folkloru w Cosquín. Ten moment otworzył jej drzwi do ogólnokrajowej kariery i uczynił z niej symbol odrodzenia muzyki folkowej wśród młodego pokolenia. Debiutancki album Poncho al viento, wydany w 1996 roku, odniósł ogromny sukces i szybko przyniósł jej popularność. Soledad wyróżniała się nie tylko mocnym, charakterystycznym głosem, ale także niezwykłą energią sceniczną i autentycznością. W swoich utworach sięgała po tradycyjne formy argentyńskiego folkloru, takie jak chacarera czy zamba, jednocześnie nadając im nowoczesne brzmienie. Dzięki temu folklor przestał być postrzegany wyłącznie jako muzyka starszego pokolenia, a zaczął przemawiać także do młodszych słuchaczy. Na przestrzeni lat Soledad wydała wiele albumów, które ugruntowały jej pozycję jako jednej z najważniejszych artystek w kraju. Jej twórczość łączy przywiązanie do tradycji z otwartością na nowe wpływy, co sprawiło, że stała się artystką uniwersalną, rozpoznawalną nie tylko w Argentynie, ale i w innych krajach Ameryki Łacińskiej. Szczególne uznanie przyniosły jej projekty realizowane we współpracy z innymi wybitnymi wokalistkami, które podkreślały wspólne korzenie muzyczne regionu. Wstawka zawiera album nagrany z Lila Downs i Niną Pastori.

Artist: Soledad Pastorutti

Title: Raiz

Country: Argentyna, Meksyk

Year: 2014

Genre: Latin

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

La raiz de mi tierra
Que nadie sepa mi sufrir
Chacarera para mi vuelta
La maza
El día que me quieras
Cumbia del mole
Agua de rosas
Sodade
Puede ser
Zapata se queda
Tren del cielo
Valgame Dios
Y para que
Cómo sera
Dime quien soy yo
Tierra de luz

..::INFO::..

---------------------------------------------------------------------
Wojciech Waglewski - MTV Unplugged
---------------------------------------------------------------------

Artist...............: Wojciech Waglewski
Album................: MTV Unplugged
Genre................: Rock, Blues, Pop
Source...............: WEB
Year.................: 2025-02-14
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..........: ART2 Music

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

..::TRACK-LIST::..

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

1. Wojciech Waglewski, Maciej Maleńczuk, Bartek Łęczycki - Koledzy (Live)[04:13]
2. Waglewski Fisz Emade - Na Księżyc (Live) [06:29]
3. Waglewski Fisz Emade - Ojciec (Live) [05:01]
4. Waglewski Fisz Emade - Ziemia (Live) [07:56]
5. Voo Voo - Piątek (Live) [06:13]
6. Voo Voo - Człowiek wózków (Live) [08:11]
7. Voo Voo, Maria Peszek - Moje miasto (Live) [05:56]
8. Voo Voo - Nabroiło się (Live) [05:17]
9. Voo Voo, Kasai - Bezruch (Live) [09:53]
10. Voo Voo, Tomasz Makowiecki - Nim stanie się tak, jak gdyby nigdy nic nie było (Live)[07:40]
11. Kasai - Będziesz moją panią (Live) [04:57]
12. Voo Voo, Masha Natanson - Gdybym (Live) [10:11]
13. Voo Voo, Sophie LaRo - Styks, Flota Zjednoczonych Sił (Live)[09:46]
14. Voo Voo, Samitra Suwannarit - Sobota (Live) [08:37]

Playing Time.........: 01:40:25
Total Size...........: 587,87 MB

..::DODATKOWE-INFO::..

Bassoon – Marcin Ostałowski
Viola – Anna Betley-Gębska
Violin – Gwidon Ciężarek, Klara Rejnowicz, Marta Gębska
Violoncello – Mateusz Gębski
Orchestra – Karimski Orchestra
Performer [W Nagraniu Udział Wzieli] – Anna Prokopczuk-Kwapniewska, Bartosz „Fisz” Waglewski, Bartosz Łęczycki, Karim Martusewicz, Katarzyna „Kasai” Piszek, Maciej Maleńczuk, Maria Peszek, Mariusz Obijalski, Masha Natanson, Mateusz Pospieszalski, Michał Bryndal, Piotr Chołody, Piotr „Emade” Waglewski, Samitra Suwannarit, Sophie LaRo, Tomasz Makowiecki, Wojciech Waglewski

..::INFO::..

---------------------------------------------------------------------
The Rollers (Bay City Rollers) - Studio Albums 1979 - 1981 (3 CD)

CD 1 - The Rollers - Elevator (1979)
CD 2 - The Rollers - Voxx (1980)
CD 3 - The Rollers - Ricochet (1981)

---------------------------------------------------------------------
CD 1 - The Rollers - Elevator
---------------------------------------------------------------------

Artist...............: The Rollers
Album................: Elevator
Genre................: Rock
Source...............: CD
Year.................: 1979-2008
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: 7T's Records

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

---------------------------------------------------------------------
Tracklisting - Elevator
---------------------------------------------------------------------

1. The Rollers - Stoned Houses # 1 [01:09]
2. The Rollers - Elevator [03:12]
3. The Rollers - Playing in a rock and roll band [03:44]
4. The Rollers - Hello and welcome home [04:28]
5. The Rollers - I was eleven [03:10]
6. The Rollers - Stoned Houses #2 [03:52]
7. The Rollers - Turn on the radio [03:42]
8. The Rollers - Instant relay [04:08]
9. The Rollers - Tomorrows just a day away [01:14]
10. The Rollers - Who´ll be my keeper [03:32]
11. The Rollers - Back on the road again [03:57]
12. The Rollers - Washingtons birthday [03:45]

Playing Time.........: 39:59
Total Size...........: 288,00 MB


---------------------------------------------------------------------
CD 2 - The Rollers - Voxx
---------------------------------------------------------------------

Artist...............: The Rollers
Album................: Voxx
Genre................: Rock
Source...............: CD
Year.................: 1980-2008
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..........: 7T's Records

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

---------------------------------------------------------------------
Tracklisting - Voxx
---------------------------------------------------------------------

1. The Rollers - God Save Rock And Roll [03:57]
2. The Rollers - Working For The People [03:48]
3. The Rollers - Soho [03:58]
4. The Rollers - The Hero [03:35]
5. The Rollers - 85 [03:33]
6. The Rollers - Honey Don't Leave L A [04:02]
7. The Rollers - New York [03:10]
8. The Rollers - The Jig [01:31]
9. The Rollers - Only The Young Die Old [03:26]
10. The Rollers - Rebel Rebel [03:25]

Playing Time.........: 34:29
Total Size...........: 241,40 MB


---------------------------------------------------------------------
CD 3 - The Rollers - Ricochet
---------------------------------------------------------------------

Artist...............: The Rollers
Album................: Ricochet
Genre................: Rock
Source...............: CD
Year.................: 1981-2008
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 73 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: 7T's Records

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

---------------------------------------------------------------------
Tracklisting - Ricochet
---------------------------------------------------------------------

1. The Rollers - Doors, Bars, Metal [03:43]
2. The Rollers - Life On The Radio [04:40]
3. The Rollers - No Doubt About It [03:57]
4. The Rollers - Roxy Lady [03:28]
5. The Rollers - Ricochet [02:26]
6. The Rollers - Won't You Come Home With Me [03:11]
7. The Rollers - Ride [04:09]
8. The Rollers - Lay Your Love On The Line [03:51]
9. The Rollers - That's Where The Boys Are [03:26]
10. The Rollers - Set The Fashion [03:29]
11. The Rollers - This Is Your Life [03:33]
12. The Rollers - Life On The Radio (Single Version) [04:07]

Playing Time.........: 44:03
Total Size...........: 324,83 MB


Bass, Keyboards, Backing Vocals – Stuart Wood
Drums – Derek Longmuir
Keyboards, Bass, Backing Vocals – Alan Longmuir
Lead Vocals, Electric Guitar – Duncan Faure, Eric Faulkner

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


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


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

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


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


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

https://i128.fastpic.org/big/2026/0930/0e/b2b8d860bc33fcb72649e6d2c5e96f0e.jpg

...( Info )...

Artist: VA
Title: For You (Vol. 158)
Year: 2026
Genre: Electronic, Chillout
Duration: 03:22:02
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

01. Eric Clapton - Wonderful Tonight (Blues Rock Version By Jesica Purple)
02. R.E.M. - Losing My Religion (Blues Rock Version By Jesica Purple)
03. 4 Non Blondes - What's Up (Blues Rock Version By Jesica Purple)
04. The Beatles - Let It Be (Blues Rock Version By Jesica Purple)
05. Smooth Blues & Soul - Cold Coffee & Warm Regrets
06. Smooth Blues & Soul - Stay A Litle Longer
07. Rosetta Solenne - Hope
08. Dave Sandler - Corazones De Luz
09. Delilah Raine - Burn Like That
10. House Blues Music - The City Couldn’t Break Me
11. Rosetta Solenne - Jealousy
12. Dave Sandler - Golden Tide
13. Delilah Raine - Honey Trap
14. Stella Noir - I Couldn’t Love For Two
15. Morgan Rita - I Won’t Disappear For Love
16. Gloria Gaynor, Morgan Luna - I Will Survive
17. Luna Brooks - Love Me Not Slowly
18. Morgan Rita - You Were Always Home
19. Luna Brooks - A Voice Within Me
20. Morgan Rita - I Belong To Me
21. Synnos - I Don't Believe Your Love
22. Ben E. King, Morgan Luna - Stand By Me
23. Tears & Roses - She Still Waits For Your Return
24. Stella Noir - My Life Is Still Mine
25. T & L - Infinite Love
26. Stella Noir - I Can Hear Myself Again
27. Etta Mae & Hartwell Miles - Hart Only Ever You
28. Nova Lane - Looking For You
29. Rosetta Solenne - Memory
30. Smooth Blues & Soul - The Way You Look At Me
31. Liamora - You Are In My Memory
32. Stella Noir - Ticket In The Bible
33. Mirava - Fake Kiss
34. Nova Lane - Abracadabra
35. Stillbeats - Broken Soul
36. Lovrite - Beautiful Love
37. Stella Noir - I Still Turn To Tell You
38. Betty Thunderstone - Don't Let This Moment Go
39. Iris Noire - So You Don't Forget Me
40. Morgan Rita - Don't Touch Me Like You Mean It

...( Info )...

Artist: Metallica
Title: Death Magnetic
Year: 2008
Genre: Rock
Style: Thrash, Heavy Metal
Label: Vertigo
Country: Japan
Duration: 01:14:46
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. That Was Just Your Life (00:07:08)
02. The End Of The Line (00:07:52)
03. Broken, Beat & Scarred (00:06:25)
04. The Day That Never Comes (00:07:56)
05. All Nightmare Long (00:07:58)
06. Cyanide (00:06:40)
07. The Unforgiven III (00:07:47)
08. The Judas Kiss (00:08:01)
09. Suicide & Redemption (00:09:58)
10. My Apocalypse (00:05:01)

...( Info )...

Artist: Metallica
Title: Live Shit: Binge & Purge
Year: 1993
Genre: Rock
Style: Heavy Metal
Label: Elektra
Country: Russia
Duration: 02:57:12
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...


01. The Ecstasy Of Gold / Enter Sandman (00:07:28)
02. Creeping Death (00:07:28)
03. Harvester Of Sorrow (00:07:19)
04. Welcome Home (Sanitarium) (00:06:39)
05. Sad But True (00:06:07)
06. Of Wolf And Man (00:06:23)
07. The Unforgiven (00:06:48)
08. Justice Medley (00:09:38)
09. Solos (Bass / Guitar) (00:18:50)
10. Through The Never (00:03:48)
11. For Whom The Bell Tolls (00:05:48)
12. Fade To Black (00:07:12)
13. Master Of Puppets (00:04:35)
14. Seek & Destroy (00:18:08)
15. Whiplash (00:05:34)
16. Nothing Else Matters (00:06:22)
17. Wherever I May Roam (00:06:32)
18. Am I Evil (00:05:41)
19. Last Caress (00:01:26)
20. One (00:10:26)
21. So What / Battery (00:10:06)
22. The Four Horsemen (00:06:07)
23. Motorbreath (00:03:14)
24. Stone Cold Crazy (00:05:33)

...( Info )...

Artist: Metallica
Title: Metallica
Year: 1991/2008
Genre: Rock
Style: Hard Rock, Heavy Metal
Label: Vertigo
Country: Japan
Duration: 01:05:47
Format/Codec: FLAC (tracks) + Artwork
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. Enter Sandman (00:05:32)
02. Sad But True (00:05:25)
03. Holier Than Thou (00:03:48)
04. The Unforgiven (00:06:27)
05. Wherever I May Roam (00:06:44)
06. Don't Tread On Me (00:04:00)
07. Through The Never (00:04:04)
08. Nothing Else Matters (00:06:29)
09. Of Wolf And Man (00:04:17)
10. The God That Failed (00:05:09)
11. My Friend Of Misery (00:06:50)
12. The Struggle Within (00:03:54)
13. So What (Bonus Track) (00:03:08)

Title: Bagienny Stan
Artist: Woliera
Year: 2026
Genre: Death Metal
Country: Poland
Duration: 00:30:35
Format/Codec: MP3
Audio Bitrate: 320 kbps

Tracklist
01. Intro
02. Bioto obcych ust
03. Ukryte rany
04. Zatrute umysły
05. Bagienny Stan
06. Grudy
07. Otępiałych świąt
08. Woliera
09. Outro

..::INFO::..

Ewa Braun to nieistniejąca już niestety polska grupa zaliczana do sceny rocka alternatywnego i noise. Zespół, który powstał w Słupsku, uważany jest za jeden z najbardziej oryginalnych w historii polskiej muzyki w ogóle! Ewa Braun nagrała pięć płyt, w tym jedną koncertową. Zespół za płytę Sea Sea był nominowany do nagrody muzycznej Fryderyk ’99 i do Machinera w kategorii muzyka niezależna. Gazeta muzyczna BRUM uznała Sea Sea za płytę roku 1999. Muzyka zespołu znalazła się na płycie w prestiżowym brytyjskim piśmie muzycznym WIRE. Płyty ewy braun znajdują się w dystrybucji muzyki niezależnej w takich krajach jak: Niemcy, Holandia, Belgia, Dania, Japonia, USA, Czechy, Węgry, Chorwacja. Zespół ma na swoim koncie wiele koncertów w Polsce i w Europie. W maju 2000 roku, nakładem wytwórni Antena Krzyku Unc., ukazał się czwarty album zespołu pt. ELECTROMOVEMENT. Wstawka zawiera drugą płytę zespołu.

Title: Esion

Artist: Ewa Braun

Country: Polska

Year: 1994

Genre: Rock, Noise

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Czarny ptak
2.Ucieczka
3.M.L. King
4.Hard Core
5.Mów mi Allie
6.Niebo
7W drodze
8.A.I.D.S.
9.Samochodem i domem zajęła się policja
10.Esion

..::INFO::..

Debiutancki album brooklyńskiego zespołu skapunkowego w składzie: Jimmy Doyle (wokal i gitary), Ken Partridge (bas), Geoff Bickford (bębny) i Matt Mason (saksofony).

Title: Now's The Time

Artist: Be Decent

Country: USA

Year: 2026

Genre: Ska Punk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01. Get Over It
02. Human Nature (feat. Ted Leo)
03. Now's The Time
04. Come Sweetly
05. Chasing Dawn
06. You Better Work
07. All That I Need
08. Struggle
09. Out For Blood
10. Can't Argue
11. Be Decent
12. Try Not To Die
13. H.O.L.E.
14. Hateful
15. O'Doctor

...( Info )...
Kategoria: Music
Styl: Post-Black Metal
Kraj: Polska
Format: mp3

https://www.metal-archives.com/bands/Z%C3%B8rza/3540526922

...( TrackList )...
Albumy

2023 - IEI (EP)
2024 - Hellven (VBR spektrum)
2026 - Twilight of the Golden Star
...( Dane Techniczne )...
Audio codec: mp3
Rip type: Track
Scans from the disc: No (tylko okładka)

..::INFO::..

---------------------------------------------------------------------
Black Sabbath - 1970-1973 (Reissue - 1987-1988) - (3 CD)

CD 1 - Paranoid (1970)
CD 2 - Master Of Reality (1971)
CD 3 - Sabbath Bloody Sabbath (1973)

---------------------------------------------------------------------
CD 1 - Black Sabbath - Paranoid
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Paranoid
Genre................: Heavy Metal
Source...............: CD
Year.................: 1970-1987
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 57 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

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

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

1. Black Sabbath - War Pigs/Luke's Wall [07:58]
2. Black Sabbath - Paranoid [02:52]
3. Black Sabbath - Planet Caravan [04:34]
4. Black Sabbath - Iron Man [05:58]
5. Black Sabbath - Electric Funeral [04:52]
6. Black Sabbath - Hand Of Doom [07:09]
7. Black Sabbath - Rat Salad [02:30]
8. Black Sabbath - Jack The Stripper/Fairies Wear Boots [06:13]

Playing Time.........: 42:10
Total Size...........: 248,80 MB


---------------------------------------------------------------------
CD 2 - Black Sabbath - Master Of Reality
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Master Of Reality
Genre................: Hard Rock
Source...............: CD
Year.................: 1971-1987
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 55 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

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

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

1. Black Sabbath - Sweet Leaf [05:04]
2. Black Sabbath - After Forever [05:25]
3. Black Sabbath - Embryo [00:28]
4. Black Sabbath - Children Of The Grave [05:17]
5. Black Sabbath - Orchid [01:31]
6. Black Sabbath - Lord Of This World [05:26]
7. Black Sabbath - Solitude [05:02]
8. Black Sabbath - Into The Void [06:11]

Playing Time.........: 34:28
Total Size...........: 197,69 MB


---------------------------------------------------------------------
CD 3 - Black Sabbath - Sabbath Bloody Sabbath
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Sabbath Bloody Sabbath
Genre................: Hard Rock
Source...............: CD
Year.................: 1973-1988
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 61 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Bros. Records

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

---------------------------------------------------------------------
Tracklisting CD 3
---------------------------------------------------------------------

1. Black Sabbath - Sabbath Bloody Sabbath [05:45]
2. Black Sabbath - A National Acrobat [06:16]
3. Black Sabbath - Fluff [04:13]
4. Black Sabbath - Sabba Cadabra [06:00]
5. Black Sabbath - Killing Yourself To Live [05:41]
6. Black Sabbath - Who Are You [04:11]
7. Black Sabbath - Looking For Today [05:06]
8. Black Sabbath - Spiral Architect [05:29]

Playing Time.........: 42:44
Total Size...........: 267,35 MB


Bass Guitar – Terry "Geezer" Butler
Drums – Bill Ward
Lead Guitar – Tony Iommi
Vocals – Ozzy Osbourne

Genre: Death Metal
Artist (band) Country: Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 30:26
Contains scans in the download: No

Tracklist:
01. Scent
02. Druglust
03. Self-made Gods
04. ... all the fucking same
05. New Revelation
06. Stifled
07. Sacred Genocide (feat. Alexy Khoury)
08. The Art Of Deconstruction (feat. Inverne & Grzegorz Feliks)

Genre: Black/Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 37:47
Contains scans in the download: No

Tracklist:
01. I, Scvlptor
02. Lord of the Horizons
03. Rise of the Blackstorm of Evil (2026 Version)
04. In Thy Pandemaeternum (2026 Version)
05. Begotten
06. In League with Satan (feat. Shagrath & Dimmu Borgir)
07. The Return of Darkness and Evil (Live in Athens, 2026) (feat. Sakis Tolis)
08. Lord of the Horizons (Rough Studio Mix)

...( Info )...

Artist: VA
Title: Chillout After Work 2026 [2CD]
Year: 2026
Genre: Dance, Pop
Duration: 01:47:11
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

CD 1
01. Carl Clarks - Berlin (04:00)
02. Plexiphones, Aurawave - It Feels Wrong (03:38)
03. Steve Carlson, Claus Pieper - Sail On (02:47)
04. Claus Pieper - Passing Through (03:25)
05. Scot & Millfield, aqeliki, Thomas Foster - Falling (03:09)
06. No Hopes - Sadness (02:56)
07. Caspa Houzer - Te Quiero (02:29)
08. Electric Dada, Mawine Jan De Vice - Dancing In The Sun (03:04)
09. Ultraviolet Ray - 60 Seconds (03:50)
10. Scot & Millfield, Thomas Foster - I Reached Out For You (03:16)
11. Electric Dada, Mawine Jan De Vice - Pink Sky (03:47)
12. R-Theme - Ibiza (02:42)
13. Mario Pauli - Fallen Echoes (03:12)
14. Tropical Breeze - On Your Mind (02:24)
15. Ibiza Whispers - Celebrate (02:41)
16. Blissful Beats - Ibiza At Night (02:41)
17. Professor Cunningham And His Old School - Up A Lazy River (feat. Tamara Korn) (03:48)

CD 2
01. Charlie Atom, Michael Fall - Work (03:27)
02. Mat Vision, Barbara Vander - Vamos A Bailar (baya Baya) (03:02)
03. Ultraviolet Ray - The Feeling (03:13)
04. Carl Clarks - Wind Of Change (03:11)
05. Mauro Picotto - Komodo (Save A Soul) (03:17)
06. Saccoman - Distant Planet (03:52)
07. Elyamont - Circles (02:51)
08. Thomas Foster, Ariane Roth - We Can Take Your Time (02:56)
09. Carl Clarks - Nummer One (03:07)
10. Aurawave, Jon Carter - In The Air Tonight (03:39)
11. Carl Clarks - Relax, Take I Easy (03:59)
12. Andreas Kraemer, Aurawave, Junk Project - Nightshift (02:07)
13. Black Taxi Bar - You To Me Are Everything (03:36)
14. Carl Clarks - The Sound Of Silence (04:04)
15. Craig Pruess - Ack V?rmeland (03:02)
16. Professor Cunningham And His Old School - Lullaby Of The Leaves (feat. Tamara Korn) (03:45)

...( Info )...

Artist: Anthrax
Title: Cursum Perficio
Year: 2026
Genre: Rock
Style: Thrash
Label: Nuclear Blast
Country: Worldwide
Duration: 00:53:47
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Resolution: 24-bit/48 kHz


...( TrackList )...

01. Persistence of Memory (00:01:08)
02. The Long Goodbye (00:05:34)
03. It's For The Kids (00:04:20)
04. Everybody's Got A Plan (00:04:37)
05. The Edge of Perfection (00:06:46)
06. Infectious (00:05:17)
07. NYC 93 (00:04:49)
08. Cursum Perficio (00:06:08)
09. T.O.M.B. (00:04:31)
10. Watch It Go (00:05:43)
11. My Victory (00:04:54)

...( Info )...

Artist: Led Zeppelin
Title: How The West Was Won (2018 Remastered)
Year: 2003/2018
Genre: Rock
Style: Blues Rock, Rock & Roll
Publisher (label): Rhino Atlantic
Duration: 02:27:34
Format/Codec: FLAC
Rip type: Tracks
Audio bitrate: Lossless
Bit depth: 24 Bit/48 kHz

...( TrackList )...

01. LA Drone (Remaster) (00:00:14)
02. Immigrant Song (Remaster) (00:03:42)
03. Heartbreaker (Remaster) (00:07:24)
04. Black Dog (Remaster) (00:05:41)
05. Over The Hills And Far Away (Remaster) (00:05:08)
06. Since I've Been Loving You (Remaster) (00:08:02)
07. Stairway To Heaven (Remaster) (00:09:37)
08. Going To California (Remaster) (00:05:37)
09. That's The Way (Remaster) (00:05:54)
10. Bron-Yr-Aur Stomp (Remaster) (00:04:44)
11. Dazed And Confused (Remaster) (00:25:24)
12. What Is And What Should Never Be (Remaster) (00:04:40)
13. Dancing Days (Remaster) (00:03:41)
14. Moby Dick (Remaster) (00:19:07)
15. Whole Lotta Love (Remaster) (00:20:53)
16. Rock And Roll (Remaster) (00:03:56)
17. The Ocean (Remaster) (00:04:20)
18. Bring It On Home (Remaster) (00:09:30)

...( Info )...

Artist: Led Zeppelin
Title: Led Zeppelin IV (2014 Deluxe Edition)
Year: 1971/2014
Genre: Rock
Style: Hard Rock, Classic Rock, Blues Rock
Publisher (label): Atlantic
Duration: 01:23:09
Format/Codec: FLAC
Rip type: Tracks
Audio bitrate: Lossless
Bit depth: 24 Bit/48 kHz

...( TrackList )...


01. Black Dog (Remaster) (00:04:55)
02. Rock And Roll (Remaster) (00:03:41)
03. The Battle Of Evermore (Remaster) (00:05:52)
04. Stairway To Heaven (Remaster) (00:08:03)
05. Misty Mountain Hop (Remaster) (00:04:39)
06. Four Sticks (Remaster) (00:04:45)
07. Going To California (Remaster) (00:03:32)
08. When The Levee Breaks (Remaster) (00:07:09)
09. Black Dog (Basic Track With Guitar Overdubs) (00:04:35)
10. Rock And Roll (Alternate Mix) (00:03:40)
11. The Battle Of Evermore (Mandolin Guitar Mix From Headley Grange) (00:04:13)
12. Stairway To Heaven (Sunset Sound Mix) (00:08:04)
13. Misty Mountain Hop (Alternate Mix) (00:04:45)
14. Four Sticks (Alternate Mix) (00:04:33)
15. Going To California (Mandolin Guitar Mix) (00:03:34)
16. When The Levee Breaks (Alternate UK Mix In Progress) (00:07:09)

...( Info )...

Artist: Miley Cyrus
Title: Attention: Miley Live
Year: 2022
Genre: Rock, Funk, Soul, Pop, Folk, World, Country
Label: Columbia
Country: US
Duration: 01:45:02
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]

...( TrackList )...

01. ATTENTION (00:01:36)
02. We Can't Stop X Where Is My Mind? (Live) (00:05:35)
03. Plastic Hearts (Live) (00:03:27)
04. Heart of Glass (Live) (00:03:08)
05. 4x4 (Live) (00:03:00)
06. (SMS) Bangerz (Live) (00:03:20)
07. Dooo It! (Live) (00:01:09)
08.23 (Live) (00:08:54)
09. Never Be Me (Live) (00:03:34)
10. Maybe (Live) (00:04:07)
11. 7 Things (Live) (00:03:40)
12. Bang Bang X See You Again (Live) (00:04:33)
13. Jolene (Live) (00:04:27)
14. High (Live) (00:03:29)
15. You (Live) (00:03:01)
16. Like a Prayer (Live) (00:03:28)
17. Edge of Midnight (Midnight Sky Remix) (Live) (00:03:40)
18. The Climb (Live) (00:06:01)
19. Wrecking Ball X Nothing Compares 2 U (Live) (00:05:13)
20. Party In The USA (Live) (00:07:01)
21. WTF Do I Know (Live) (00:03:00)
22. Mother's Daughter X Boys Don't Cry (Live) (00:05:21)
23. You (Take 2) (Live) (00:03:10)
24. Nothing Breaks Like a Heart (Live) (00:03:55)
25. Angels Like You (Live) (00:04:10)
26. Fly On The Wall (Live) (00:03:03)

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


..::OPIS::..

Po wydaniu płyty 'Lost Mankind' grupa ruszyła w trasę z Barclay James Harvest. Miało to bezpośredni wpływ na ich późniejszą muzykę. Trzecia płyta 'As A Keepsake' (1977) zainspirowana Brytyjczykami była już zdecydowanie bardziej symfonicznym popem niż rockiem.
Jeśli ktoś lubi takie granie, to kolejne płyty: 'A Whale Of Time' i koncertowa 'Whalecome' (obie z 1978) nie powinny rozczarować.
Jednak moim skromnym zdaniem ich poziom artystyczny daleko odbiega od dwóch pierwszych i absolutnie genialnych albumów.



OK, so Eugene, Oregon isn't the most prog friendly place on the face of the planet, and that goes for finding used prog LPs, although I have found a few unbelievable finds there, including original Italian Polydor pressings of the first two Latte e Miele LPs (I only bought Papillon at one of the Eugene record stores, as I already owned the original Passio Secundum Mattheum), the original Italian Grog pressing of the Celeste LP, and an original green Brain LP pressing of Satin Whale's Desert Places. For some reason finding unbelievable albums in Eugene seemed to have petered out since then (probably since the record stores felt they were making more money with newly pressed vinyl, and needing to cater to the college student and hipster population). Regardless, so glad to get that Satin Whale LP, then coming home to realize the big money originals are going for (I spent $20, and this doesn't appear to be the recent repress). I also noticed a copy of As a Keepsake at the same time (2012), but skipped it thinking it probably isn't worth my time. Come 2015, same Satin Whale LP still sitting there and I bought it, and I actually find it very good.
Everything else they ever done seems to get compared to Desert Places, and I didn't feel the need to do that. As a Krautrock album, As a Keepsake crashes and burns. As a "crossover prog" album, this rather good, and if you like crossover prog, this comes recommended. It might not have the extended jams of Desert Places, but it had nice songs and nice arrangements. I don't think they sold out, the production and the music is a bit too sophisticated. They go a bit in the Barclay James Harvest route here, which I guess was intentional, as they had toured with them. I even prefer this over the BJH album from the same time (Gone to Earth). This album has several songs I really enjoy including "Holidays", "Devilish Roundabout", "Going Back to Cologne" and "Maree". "Devilish Roundabout" features some nice acoustic guitar passages, plus I really love that vibraphone solo. While I enjoy Desert Places as much as the next proghead, I was surprised to find this enjoyable, and worthy of four stars.

Progfan97402



..::TRACK-LIST::..

1. Holidays 5:39
2. Reminiscent River 4:12
3. Devilish Roundabout 5:43
4. A Bit Foolish - A Bit Wise 5:58
5. Shady Way 4:14
6. Goin' Back To Cologne 3:54
7. Kew Gardens 4:26
8. Marée 4:38
9. No Time To Lose 4:26



..::OBSADA::..

Dieter Roesberg - electric, slide & acoustic (6- & 12-string) guitars, flutes, harmonica, vocals (6)
Gerald Dellmann - Hammond B3 organ, grand piano, Fender Rhodes, Hohner e-piano, synths (MiniMoog, ARP Strings), vibes, marimba, tubular bells, glockenspiel
Thomas Brück - bass, lead vocals
Wolfgang Hieronymi - drums

With:
Bernd Wippich - backing vocals
Freya Wippich - backing vocals
Rale Oberpichler - backing vocals
Horst Schaettgen - backing vocals
Herb Geller - alto sax (7)


https://www.youtube.com/watch?v=n973jXIk7J0


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

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


..::OPIS::..

Po wydaniu płyty 'Lost Mankind' grupa ruszyła w trasę z Barclay James Harvest. Miało to bezpośredni wpływ na ich późniejszą muzykę. Trzecia płyta 'As A Keepsake' (1977) zainspirowana Brytyjczykami była już zdecydowanie bardziej symfonicznym popem niż rockiem.
Jeśli ktoś lubi takie granie, to kolejne płyty: 'A Whale Of Time' i koncertowa 'Whalecome' (obie z 1978) nie powinny rozczarować.
Jednak moim skromnym zdaniem ich poziom artystyczny daleko odbiega od dwóch pierwszych i absolutnie genialnych albumów.



OK, so Eugene, Oregon isn't the most prog friendly place on the face of the planet, and that goes for finding used prog LPs, although I have found a few unbelievable finds there, including original Italian Polydor pressings of the first two Latte e Miele LPs (I only bought Papillon at one of the Eugene record stores, as I already owned the original Passio Secundum Mattheum), the original Italian Grog pressing of the Celeste LP, and an original green Brain LP pressing of Satin Whale's Desert Places. For some reason finding unbelievable albums in Eugene seemed to have petered out since then (probably since the record stores felt they were making more money with newly pressed vinyl, and needing to cater to the college student and hipster population). Regardless, so glad to get that Satin Whale LP, then coming home to realize the big money originals are going for (I spent $20, and this doesn't appear to be the recent repress). I also noticed a copy of As a Keepsake at the same time (2012), but skipped it thinking it probably isn't worth my time. Come 2015, same Satin Whale LP still sitting there and I bought it, and I actually find it very good.
Everything else they ever done seems to get compared to Desert Places, and I didn't feel the need to do that. As a Krautrock album, As a Keepsake crashes and burns. As a "crossover prog" album, this rather good, and if you like crossover prog, this comes recommended. It might not have the extended jams of Desert Places, but it had nice songs and nice arrangements. I don't think they sold out, the production and the music is a bit too sophisticated. They go a bit in the Barclay James Harvest route here, which I guess was intentional, as they had toured with them. I even prefer this over the BJH album from the same time (Gone to Earth). This album has several songs I really enjoy including "Holidays", "Devilish Roundabout", "Going Back to Cologne" and "Maree". "Devilish Roundabout" features some nice acoustic guitar passages, plus I really love that vibraphone solo. While I enjoy Desert Places as much as the next proghead, I was surprised to find this enjoyable, and worthy of four stars.

Progfan97402



..::TRACK-LIST::..

1. Holidays 5:39
2. Reminiscent River 4:12
3. Devilish Roundabout 5:43
4. A Bit Foolish - A Bit Wise 5:58
5. Shady Way 4:14
6. Goin' Back To Cologne 3:54
7. Kew Gardens 4:26
8. Marée 4:38
9. No Time To Lose 4:26



..::OBSADA::..

Dieter Roesberg - electric, slide & acoustic (6- & 12-string) guitars, flutes, harmonica, vocals (6)
Gerald Dellmann - Hammond B3 organ, grand piano, Fender Rhodes, Hohner e-piano, synths (MiniMoog, ARP Strings), vibes, marimba, tubular bells, glockenspiel
Thomas Brück - bass, lead vocals
Wolfgang Hieronymi - drums

With:
Bernd Wippich - backing vocals
Freya Wippich - backing vocals
Rale Oberpichler - backing vocals
Horst Schaettgen - backing vocals
Herb Geller - alto sax (7)



https://www.youtube.com/watch?v=n973jXIk7J0


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

..::INFO::..

Szósty, najnowszy album studyjny duńskiego zespołu punkowo-rockowego Iceage. Ukazał się 29 maja 2026 roku nakładem wytwórni Mexican Summer. Iceage to duński zespół założony w 2008 roku. W styczniu 2011 roku wraz z ukazaniem się ich debiutanckiego albumu New Brigade zyskał duże zainteresowanie mediów, a jego powstanie uznano za reaktywację duńskiej sceny punkowej. Magazyn muzyczny Soundvenue określił ich album jako „prawdopodobnie najważniejszy duński album od czasu Kliches Supertanker. Iceage powstał w 2008 roku, gdy członkowie zespołu mieli około 17 lat. Podpisali kontrakt z Escho i wydali debiutancki singiel w 2009 roku.

Title: For Love Of Grace And The Hereafter

Artist: Iceage

Country: Dania

Year: 2026

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Ember
2.Match Head Girl
3.The Weak
4.No Fear
5.Salve for Every Sore
6.Mother-of-Pearl
7.Tender Blades
8.1835
9.Star
10.Lifetime
11.Holy Water
12.True Blue

..::INFO::..

Jeśli szukamy czarnej awangardy, musimy być gotowi szukać jej w nieoczekiwanych miejscach. Droga do czarnej awangardy prowadzi – jak niektórzy mogą uznać – nietypowymi ścieżkami: tam, gdzie oni dostrzegają obcość, drogę donikąd, my widzimy jedynie piękno. Drogi, którymi podążał Darren Cunningham, autostrady, którymi jechał, by stworzyć Actress, stanowią rozdział w historii czarnej awangardy. Cunningham, piłkarz. Cunningham, mieszkaniec Wolverhampton. Cunningham, były piłkarz. Cunningham, DJ. Cunningham, londyńczyk. Cunningham, producent. Cunningham, malarz. Cunningham, pisarz. Cunningham, kompozytor. To właśnie tutaj rodzi się czarna awangarda w Wielkiej Brytanii. To tutaj trzeba się udać, by ją odnaleźć. W obszernej dyskografii obejmującej ponad dziesięć albumów Actress stworzył swój własny, tajemniczy język złożony z hermetycznych odniesień i międzywymiarowych kompozycji elektronicznych. „Radical Frame” ukazuje się 18 lat po debiutanckim albumie „Hazyville” i sprawia wrażenie apoteozy: obraz jest dopełniony. Słyszymy całą gamę charakterystycznych dla Actress elementów: krótkie wybuchy minimalistycznej muzyki, drobne szkice powiększonego brzmienia. Być może „Radical Frame” jest naczyniem, w którym zmieściło się wszystko, co Cunningham stworzył do tej pory. Ramą, którą przekazuje następnemu – kolejnemu artyście, który wytyczy własną ścieżkę w brytyjskiej czarnej awangardzie.

Title: Radical Frame

Artist: Actress

Country: Wielka Brytania

Year: 2026

Genre: Elektroniczna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. The Experiment
2. Gimme Tha' Fuckin’ Money Man
3. Live By You (feat. CASISDEAD)
4. Overchord
5. Paris
6. Withending
7. Cosmo
8. Sheets (feat. Rainy Miller)

..::INFO::..

---------------------------------------------------------------------
Bryan Adams - So Far So Good
---------------------------------------------------------------------

Artist...............: Bryan Adams
Album................: So Far So Good
Genre................: Rock
Source...............: CD
Year.................: 1993
Ripper...............: EAC (Secure mode) / LAME 3.92 & Lite-On iHAS124
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..........: A&M Records – Japan

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

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

1. Bryan Adams - Summer Of '69 [03:34]
2. Bryan Adams - Straight From The Heart [03:29]
3. Bryan Adams - It's Only Love [03:15]
4. Bryan Adams - Can't Stop This Thing We Started [04:28]
5. Bryan Adams - Do I Have To Say The Words [06:11]
6. Bryan Adams - This Time [03:19]
7. Bryan Adams - Run To You [03:53]
8. Bryan Adams - Heaven [04:03]
9. Bryan Adams - Cuts Like A Knife [05:12]
10. Bryan Adams - (Everything I Do) I Do It For You [06:34]
11. Bryan Adams - Somebody [04:42]
12. Bryan Adams - Kids Wanna Rock [02:35]
13. Bryan Adams - Heat Of The Night [05:05]
14. Bryan Adams - Please Forgive Me [05:56]

Playing Time.........: 01:02:20
Total Size...........: 446,56 MB

...( Info )...

Artist: Sanah
Album: Discography
Genre: Pop
Artist/Band Country: Poland
Release Year: 2019–2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 11:15:06


...( Opis )...


Sanah Zuzanna Irena Grabowska z domu Jurczak (ur. 2 września 1997 w Warszawie) – polska piosenkarka, multiinstrumentalistka, autorka tekstów i kompozytorka, wykonująca muzykę z pogranicza indie pop[, pop, synthpop, poezji śpiewanej, dance popi art pop[w innych językach]. Pierwsza Polka nagrodzona certyfikatem diamentowej płyty za solowy album muzyczny.

Pseudonim „sanah” powstał po skróceniu angielskiej wersji pierwszego imienia piosenkarki – Susannah (po polsku „Zuzanna”). Przedtem występowała pod pseudonimem „Ayreen” (po polsku „Irena”), pochodzącym od jej drugiego imienia


...( TrackList )...

(2019) Sanah - ja na imie niewidzialna mam - EP 00:24:15
(2020) Sanah - BUJDA - EP 00:30:29
(2020) Sanah - Krolowa dram (FINAL Edition) 01:17:44
(2020) Sanah - Krolowa dram 00:53:57
(2021) Sanah - Irenka (FINAL Edition) 01:28:25
(2022) Sanah - sanah spiewa Poezyje 00:31:12
(2022) Sanah - UCZTA 00:40:11
(2023) Sanah - Bankiet u sanah 01:32:18
(2024) Sanah - Can you love me for who I am_ Part 2 00:13:27
(2024) Sanah - Can you love me for who I am_ 00:12:48
(2024) Sanah - Kaprysy 01:00:52
(2024) Sanah - Pianinkowe Kaprysy 00:49:15
(2025) Sanah - Dwoje ludzienkow 00:44:41