...( Info )...
Genre: Thrash Metal
Country of Artist (Band): Argentina
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 35:14

...( TrackList )...
01. Viva la Nueva Carne
02. Descomposición Espiritual
03. Alienación
04. Aquel que Rasga el Velo
05. La Última Flor de Telperion
06. Aguas Oscuras
07. Placebo Mortal
08. Inexorable Putrefacción
09. Ocupación Planetaria

...( Info )...

Artist: Paradise Lost
Title: Studio Albums
Year: 1990-2025
Genre: Doom Metal, Death Metal, Gothic Metal
Country: United Kingdom
Duration: 18:14:47
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Media: CD, LP, Web
Release by: Alias ​​Divas


...( TrackList )...



1990 - Lost Paradise

01. Intro (2:41)
02. Deadly Inner Sense (4:36)
03. Paradise Lost (5:30)
04. Our Saviour (5:08)
05. Rotting Misery (5:17)
06. Frozen Illusion (5:20)
07. Breeding Fear (4:14)
08. Lost Paradise (2:09)
09. Internal Torment II (5:54)

1991 - Gothic

01. Gothic (4:51)
02. Dead Emotion (4:38)
03. Shattered (4:01)
04. Rapture (5:09)
05. Eternal (3:55)
06. Falling Forever (3:35)
07. Angel Tears (2:40)
08. Silent (4:42)
09. The Painless (4:02)
10. Desolate (1:51)

1992 - Shades Of God

01. Mortals Watch The Day (5:11)
02. Crying For Eternity (7:05)
03. Embraced (4:29)
04. Daylight Torn (7:54)
05. Pity The Sadness (5:05)
06. No Forgiveness (7:37)
07. Your Hand In Mine (7:08)
08. The Word Made Flesh (4:42)
09. As I Die (3:49)
10. Rape Of Virtue (4:49)
11. Death Walks Behind You (6:29)
12. Eternal (Live) (4:31)

1993 - Icon

01. Embers Fire (4:44)
02. Remembrance (3:26)
03. Forging Sympathy (4:44)
04. Joys Of The Emptiness (3:29)
05. Dying Freedom (3:44)
06. Widow (3:04)
07. Colossal Rains (4:36)
08. Weeping Words (3:51)
09. Poison (3:00)
10. True Belief (4:30)
11. Shallow Seasons (4:55)
12. Christendom (4:31)
13. Deus Misereatur (1:58)
14. Sweetness (5:35)

1995 - Draconian Times

01. Enchantment (6:05)
02. Hallowed Land (5:02)
03. The Last Time (3:28)
04. Forever Failure (4:18)
05. Once Solemn (3:04)
06. Shadowkings (4:41)
07. Elusive Cure (3:21)
08. Yearn For Change (4:20)
09. Shades Of God (3:55)
10. Hands Of Reason (3:58)
11. I See Your Face (3:17)
12. Jaded (3:27)
13. Walk Away (3:25)
14. Laid To Waste (3:15)
15. Master Of Misrule (3:07)
16. Another Desire (3:13)

1997 - One Second

01. One Second (3:33)
02. Say Just Words (4:03)
03. Lydia (3:32)
04. Mercy (4:24)
05. Soul Courageous (3:01)
06. Another Day (4:45)
07. The Sufferer (4:30)
08. This Cold Life (4:21)
09. Blood Of Another (4:01)
10. Disappear (4:29)
11. Sane (4:00)
12. Take Me Down (6:26)
13. I Despair (3:56)
14. Cruel One (3:23)
15. How Soon Is Now? (4:36)
16. Albino Flogged In Black (6:29)

1999 - Host

01. So Much Is Lost (4:17)
02. Nothing Sacred (4:02)
03. In All Honesty (4:03)
04. Harbour (4:24)
05. Ordinary Days (3:29)
06. It's Too Late (4:44)
07. Permanent Solution (3:17)
08. Behind The Grey (3:13)
09. Wreck (4:42)
10. Made The Same (3:34)
11. Deep (4:00)
12. Year Of Summer (4:17)
13. Host (5:14)
14. So Much Is Lost (Lost In Space Mix) (6:23)
15. Languish (4:11)
16. So Much Is Lost ($tring Version) (4:18)

2001 - Believe in Nothing

01. I Am Nothing (4:01)
02. Mouth (3:46)
03. Fader (3:57)
04. Look At Me Now (3:38)
05. Illumination (4:32)
06. Something Real (3:35)
07. Divided (3:27)
08. Sell It To The World (3:12)
09. Never Again (4:38)
10. Control (3:29)
11. No Reason (3:15)
12. World Pretending (4:30)
13. Sway (3:08)
14. Gone (4:35)
15. Waiting For God (3:20)

2002 - Symbol Of Life

01. Isolate (3:44)
02. Erased (3:33)
03. Two Worlds (3:29)
04. Pray Nightfall (4:12)
05. Primal (4:23)
06. Perfect Mask (3:46)
07. Mystify (3:50)
08. No Celebration (3:48)
09. Self-Obsessed (3:07)
10. Symbol Of Life (3:57)
11. Channel For The Pain (3:53)
12. Xavier (6:08)
13. Small Town Boy (5:17)

2005 - Paradise Lost

01. Don't Belong (4:18)
02. Close Your Eyes (4:20)
03. Grey (3:28)
04. Redshift (3:28)
05. Forever After (3:47)
06. Sun Fading (3:27)
07. Laws Of Cause (4:09)
08. All You Leave Behind (3:00)
09. Accept The Pain (3:21)
10. Shine (4:05)
11. Spirit (4:21)
12. Over The Madness (5:19)
13. Let Me Drown (3:10)
14. A Side You'll Never Know (4:12)

2007 - In Requiem

01. Never For The Damned (5:02)
02. Ash & Debris (4:16)
03. The Enemy (3:39)
04. Praise Lamented Shade (4:03)
05. Requiem (4:25)
06. Unreachable (3:39)
07. Prelude To Descent (4:11)
08. Fallen Children (3:38)
09. Beneath Black Skies (4:13)
10. Sedative God (3:59)
11. Your Own Reality (4:08)
12. Missing (4:32)
13. Silent In Heart (3:24)
14. Sons Of Perdition (4:13)

2009 - Faith Divides Us - Death Unites Us

01. As Horizons End (5:26)
02. I Remain (4:09)
03. First Light (5:01)
04. Frailty (4:25)
05. Faith Divides Us - Death Unites Us (4:22)
06. The Rise Of Denial (4:48)
07. Living With Scars (4:23)
08. Last Regret (4:24)
09. Universal Dream (4:18)
10. In Truth (4:51)
11. Cardinal Zero (4:27)
12. Back On Disaster (4:13)

2012 - Tragic Idol

01. Solitary One (4:08)
02. Crucify (4:08)
03. Fear Of Impending Hell (5:25)
04. Honesty In Death (4:07)
05. Theories From Another World (5:02)
06. In This We Dwell (3:55)
07. To The Darkness (5:10)
08. Tragic Idol (4:34)
09. Worth Fighting For (4:12)
10. The Glorious End (5:23)
11. Ending Through Changes (4:09)
12. Never Take Me Alive (4:47)
13. True Belief (Live Version) (4:52)
14. One Second (Live Version) (3:38)
15. Say Just Words (Live Version) (4:51)
16. Loneliness Remains (4:56)

2015 - The Plague Within

01. No Hope In Sight (4:51)
02. Terminal (4:28)
03. An Eternity Of Lies (5:58)
04. Punishment Through Time (5:13)
05. Beneath Broken Earth (6:08)
06. Sacrifice The Flame (4:42)
07. Victim Of The Past (4:29)
08. Flesh From Bone (4:19)
09. Cry Out (4:31)
10. Return To The Sun (5:44)
11. Victim Of The Past (orchestra version) (5:13)
12. Fear of Silence (4:00)
13. Never Look Away (5:17)

2017 - Medusa

01. Fearless Sky (8:30)
02. Gods Of Ancient (5:50)
03. From The Gallows (3:42)
04. The Longest Winter (4:31)
05. Medusa (6:20)
06. No Passage For The Dead (4:16)
07. Blood & Chaos (3:51)
08. Until The Grave (5:41)
09. Shrines (3:59)
10. Symbolic Virtue (4:38)
11. Frozen Illusion (5:45)

2020 - Obsidian

01. Darker Thoughts (05:46)
02. Fall from Grace (05:42)
03. Ghosts (04:36)
04. The Devil Embraced (06:09)
05. Forsaken (04:30)
06. Serenity (04:47)
07. Ending Days (04:37)
08. Hope Dies Young (04:03)
09. Ravenghast (05:31)
10. Hear the Night (05:34)
11. Defiler (04:46)

2023 - Icon 30

01. Embers Fire (4:51)
02. Remembrance (3:28)
03. Forging Sympathy (4:41)
04. Joys of the Emptiness (3:29)
05. Dying Freedom (3:43)
06. Widow (3:08)
07. Colossal Rains (4:31)
08. Weeping Words (3:51)
09. Poison (3:05)
10. True Belief (4:33)
11. Shallow Seasons (4:54)
12. Christendom (4:33)
13. Deus Misereatur (1:53)

2025 - Ascension

01. Serpent On The Cross (6:13)
02. Tyrants Serenade (4:21)
03. Salvation (7:08)
04. Silence Like The Grave (4:47)
05. Lay A Wreath Upon The World (4:52)
06. Diluvium (5:48)
07. Savage Days (3:55)
08. Sirens (4:47)
09. Deceivers (3:38)
10. The Precipice (5:43)
11. This Stark Town (5:38)
12. A Life Unknown (4:10)

1998 - As We Die For... Paradise Lost (Tribute)

01. Gloomy Grim - Say Just Words (4:10)
02. Orphaned Land - Mercy (5:20)
03. Septic Flesh - The Last Time (3:35)
04. Misanthrope (a.k.a. Mysanthrope) - Forever (Shattered) Failure (5:34)
05. On Thorns I Lay - True Belief (4:20)
06. Legenda - Embers Fire (2:30)
07. Argile - As I Die (4:35)
08. Godsend - Gothic (4:44)
09. Stille Volk - The Painless (4:44)
10. Yearning - Eternal (5:18)
11. Nightfall - Lost Paradise (3:42)
12. SUP - Rotting Misery (6:40)

...( Info )...

Artist: Alice Cooper
Title: Welcome To My Nightmare: Live At The Forum, Los Angeles 6/17/75
Year: 2025
Genre: Hard Rock
Country: USA
Duration: 01:12:24
Format/Codec: MP3
Audio Bitrate: 320 kbps


...( TrackList )...

1. Welcome To My Nightmare (05:56)
2. Years Ago (00:42)
3. No More Mr. Nice Guy (02:03)
4. Years Ago (Reprise 1) (00:58)
5. Billion Dollar Babies (02:59)
6. Years Ago (Reprise 2) (01:19)
7. I'm Eighteen (04:26)
8. Years Ago (Reprise 3) (01:07)
9. Some Folks (05:43)
10. Cold Ethyl (02:50)
11. Only Women Bleed (07:11)
12. Devil's Food (09:39)
13. The Black Widow (03:17)
14. Steven (05:15)
15. Welcome To My Nightmare (Reprise) (03:03)
16. Escape (03:43)
17. School's Out (04:17)
18. Department Of Youth (07:47)

...( Info )...
OldiesPart047
⭐MP3 @ 320kbps
Acoustic Rock

...( TrackList )...
VA - Acoustic Rock Favorites Vol. (2CD)
VA - Even More Acoustic Rock Favorites (2CD)
VA - MORE Acoustic Rock Favorites (2CD)
VA - Demo Diaries, Acoustic Origins (4CD)
VA - Great Acoustic Covers (2CD)
VA - Greatest Acoustic Rock Intros Vol. 01 (6CD)
VA - The Original Whisper, Acoustic Anthology (6CD)

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): Australia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 32:57

...( TrackList )...
01. The Maniacal Mind
02. Axe To Grind
03. Am I Sane?
04. Heyoka
05. Vaguely Clear
06. Just A Clown
07. War
08. Alien Welcome Note

...( Info )...
Genre: Heavy Metal
Country of Artist (Band): Chile
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 47:29

...( TrackList )...
01. Perdiendo El Tiempo
02. Malaracha
03. Ácido El Metal
04. La Piedra
05. Magnetismo Vórtize
06. Grito De Libertad
07. Evnem Qupac
08. La Guerra En Mi Cabeza

...( Info )...
Genre: Thrash/Groove Metal
Country of Artist (Band): Australia
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 35:28

...( TrackList )...
01. Hollow Eyes
02. Distrust
03. Victim of Regret
04. Martyr
05. Despise
06. Final Warning
07. The Purity of Evil
08. Join the Circle
09. Shadow

...( Info )...
Genre: Heavy/Doom Metal
Country of Artist (Band): Germany
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 43:24

...( TrackList )...
01. Disconnected (Intro)
02. Electric Monster
03. New World Order
04. Eternal Sleep
05. Sound Of Darkness
06. Call Of The Sea
07. Grimms Child
08. Journey To The Wasteland
09. Legion Of Doom
10. Said And Done

...( Info )...
Genre: Stoner Metal
Country of Artist (Band): France
Year of Release: 2025
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 32:52

...( TrackList )...
01. Stoner Dream
02. Eye of the Electric Mountain
03. Night of the Blue Smoke
04. Son of a Witch
05. Rainbow Rider
06. Space Weeds and Heavy Trips

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


..::OPIS::..

Epitet „kultowy” w odniesieniu do zespołów i płyt przez lata stracił na znaczeniu i dziś wydaje się niemal pustym, nic nie znaczącym sloganem. Jeśli jednak przywrócić mu właściwy ciężar i określić nim jakiś band z całą odpowiedzialnością wagi tego słowa, to Cirith Ungol jest przykładem idealnym. Do tej pory mieli na koncie zaledwie cztery pełne płyty, ale zdążyli dopracować się nabożnego szacunku i grona absolutnie zaprzysięgłych fanów. W epickim, surowym heavy metalu nie jest to specjalnie rzadkie zjawisko, ale mityczna otoczka Amerykanów zaczęła żyć własnym życiem, a zespół rozpalał kolejne pokolenia słuchaczy, mimo braku aktywności przez ponad dwie dekady. Być może jakoś przyczyniła się do tego plotka, według której krytycy mieli określić Frost And Fire (debiutancki album zespołu) mianem najgorszej płyty w historii metalu. Trudno o lepszą reklamę niż całkowicie negatywny kontent. Reszta jest historią.

Od wydania Paradise Lost, ostatniego albumu Cirith Ungol, minęło dwadzieścia dziewięć lat. Co sprawiło, że po tak długiej przerwie grupa postanowiła wrócić do życia? Nie wnikam w faktyczne motywacje muzyków, ale po kilkutygodniowym obcowaniu z Forever Black trudno oprzeć się wrażeniu, że Panowie wrócili, żeby zrobić porządek na scenie. Trzeba jasno powiedzieć, że w wąskim światku metalu spod znaku Conana Barbarzyńcy dzieje się ostatnio naprawdę dużo dobrego. Coraz więcej młodych grup, jak i bardziej ugruntowanych zespołów potrafi grać, choć ze świadomością, że nie da się na nowo wskrzesić martwego od lat trupa. Aż tu nagle przychodzi Tim Baker z ekipą.

Forever Black nie jest rewolucyjnym przewrotem. Dużym błędem byłoby założenie, że surowy, epicki heavy metal można przedefiniować i napisać na nowo jego prawa. Tego zrobić się nie da, a kto może wiedzieć o tym lepiej, niż zespół, który w pisaniu tych praw miał czynny udział? Ale można spróbować wtoczyć w niego świeżą krew, zaaplikować adrenalinę i dawkę silnych elektrowstrząsów. W każdym innym przypadku byłoby to tylko pudrowanie nieboszczyka, ale nie tutaj. Amerykanie przystępują do pełnej reanimacji, doskonale wiedząc, co robią i jaki będzie efekt. Środki są proste – mocarny riff, zaczerpnięta z klasycznego hard rocka solówka, średnie tempa, trochę galopady, melodia i przede wszystkim pomysł, który zepnie wszystko w spójną klamrę i nada cech zwartej, pancernej kompozycji. Do tego jeszcze dwa niezbędne składniki – pierwszy to wciąż niesamowity głos Bakera, którzy wrzeszczy w wysokich rejestrach, a kiedy trzeba potrafi obniżyć skalę do niebezpiecznych poziomów. Wokal zawsze wyróżniał Cirith Ungol na tle konkurencji i robi to także teraz. Trudno uwierzyć, że przez tyle lat w ogóle się nie zmienił, wciąż brzmi oryginalnie, groźnie i bardzo charakterystycznie. Wystarczy posłuchać na przykład Before Tomorrow, by zrozumieć o co chodzi. Drugi składnik to brzmienie – wciąż jaskiniowe i surowe, ale przez lata nabrało mocy i szlachetności. Wciąż jest w nim szczypta prymitywizmu pierwszej płyty, ale czuć też siłę One Foot In Hell i cały posmak tego, czym prawdziwy, wyrwany z doom metalu i hard rocka metal powinien być.

Kompozycyjnie album jest w zasadzie idealny. Doskonałe wyważenie melodyki i okraszających ją riffów, kilka mądrze wplecionych akustycznych fragmentów budujących klimat, worek pomysłów zamkniętych w dziewięciu piosenkach, opartych na średnich tempach. Wszystko to, co znane i kochane przez wielu. W muzyce Amerykanów jest dużo przestrzeni, która sprawia, że numery nie duszą się we własnym sosie, wręcz przeciwnie.

Zaryzykuję stwierdzenie, że Cirith Ungol zatoczył koło. Rozpoczął marsz ku chwale gatunku, wytyczył ścieżki dla innych i ustawił drogowskazy. A teraz wrócił z niebytu, udowodnił kto tu rządzi i doprowadził swój muzyczny świat do ściany. W tej niszy nie da się już lepiej.

Rafał Chmura


Cirith Ungol. The name looms large in the history of heavy metal. Though the mercurial act released only 4 albums, their impact on the genre was great and long-lasting. Their unusual style influenced everything from doom to traditional and trve metal, and countless bands owe their core sound to albums like King of the Dead and One Foot in Hell. They were one of the most unique, quirky bands in metal history and they’ve always held a special place in my heart ov Steel. Loathe though I am to admit it, I never cared for their final album, 1991s Paradise Lost. It felt like a weak, half-hearted ending to a great career and always left me with the taste of ashes whenever I thought about it. Fast forward nearly 30 years, past a number of rumored reunions, and we finally get another Cirith Ungol album featuring 3 original members. Naturally, I was apprehensive that the band could produce something worthwhile after a near lifetime in limbo, and I dreaded the idea of another sub-par release to further tar their legacy. I was but a fool to harbor such doubts, as Forever Black is exactly the album we should have gotten back in 1991. It sounds like a natural follow up to 1986s One Foot in Hell, and most importantly, it sounds like vintage Cirith Ungol, Iron Gods be praised!

As soon as “Legions Arise” burst forth from the speakers, you hear the might and majesty of the REAL Cirith Ungol born again in fire and fury. It’s as if the long years fade away and we’re in the 80s again. Tim Baker’s vocals sound even more forceful than ever somehow and the band sounds full of righteous anger and furious wrath. The song feels like the spiritual successor to their classic “Blood and Iron” but more aggressive and powerful. From there “The Frost Monstreme”1 slows things down into classic Cirith plod and thud territory, and again the band sounds in vintage form. All the elements that made them such a ungainly, awkward pleasure are still there, untouched by the ages or trends.

Along with the titanic opener, the massive “Stormbringer” shows a band still capable of penning enormous pieces of classic proto-metal, on par with and as vital as their early works. It’s exactly what I want from the band, sounding like something off of King of the Dead, merging doom and trve metal into a ponderous chunk of steel so weighty, I can barely move it to my workout playlist. Baker even utilizes clean vocals briefly before launching into his full-throated roars and bellows as the song steamrolls through the Hyborian age, toppling false idols and medieval power structures in the process. The album winds out with back-to-back atom smashers, “Before Tomorrow” and “Forever Black,” the former bristling with primordial old school riffing and trve heaviness. Its plod is juggernaut-like and Tim Baker sounds like an angry, hungry monster. Closer “Forever Black” feels like a call back to “Paradise Lost,” the only great song from the Paradise Lost album. It’s slow, massive sounding, and as metal as metal can be without becoming diamond. It’s also quite dark, which suits Cirith Ungol down to their ancient Tolkienisms.

Is Forever Black a perfect comeback? No. “The Fire Divine” is a bit too awkward, though it benefits from riffing strongly reminiscent of early Pentrgram, and “Nightmare” is a decent song that drags on too long and peters out before the end. Additionally, the standout cuts like “Legions Arise” and “Stormbringer” are so good they make the surrounding tracks feel weak by comparison, though they mostly aren’t. After such a long hiatus do I have a right to expect an album full of songs capable of competing with the very best of their legendary albums? Probably not, but I’m glad we got a few such monumental monoliths. The biggest shock is how amazing Tim Baker sounds nearly 30 years after his heyday. Always one of metal’s most unusual voices, he’s still every bit as wild and off-kilter as ever, and sometimes sounds even better than he once did. Greg Lindstrom and Jim Barraza combine to ensure the band’s trademark offbeat guitar style is adhered to, while adding slightly more upbeat riffing like on “Fractus Promissum.” That all the elements of their inimitable style survived the long absence does my heart good.

I didn’t know what to expect from Cirith Ungol after such a massive layoff, but Forever Black certainly exceeds all expectations I dared harbor. I don’t know if this is a one-off or if the band plans to make a another go of it, but if this is the final stone on the Cirith Ungol cenotaph, it’s a just and proper one. The Lords of the Weird have been appeased and the ways of the trve are ascendant once more. Praise be the black forever.

Steel Druhm


Cirith Ungol Forever Black has just blown me away. In this album, there are no bad songs. Using a combination of good vocals, great guitar and drum play, a combination of old and new styles, and great lyric writing to make an overall amazing album.

First, there are the vocals (sang by Tim Baker). When listing to the vocals I did not expect them to be as good as they are. I loved how at some parts he starting screeching in some parts of the album while not doing it all the time (because screaming like a rabbit in an entire album is annoying as fuck). Next, is the drums (played by Robert Garven). The drumming was just as great as the vocals were during this album. Now, the bass (played by Jarvis Leatherby). The bass was very in tune with the rest of the album and it was perfectly played by Lestherby. The guitars (played by Greg Lindstrom and Jim Barraza) were very great along with vocals and other instruments.

I loved how some of the lyrics had some stories to tell. One good example is Stormbringer which gives you tells you about a blade (most likely a sword but we will never really know) and what it can do but still with some unanswered questions (who is wielding the blade and how are they being one?) Another good example of this tactic they are using is Legions Arise. It is about how an undead army is being summoned with giving you good details but still leaving some questions unanswered like who is the person (or group) summoning them.

Forever Black is a very good reminder of how metal was in the 80s. It was a time when bands like Metallica and Slayer were at their golden age. It was a time before nu-metal took the spotlight (then being brought down by Metalcore bands like As I Lay Dying). Even though, Forever Black is different from Cirith Ungol's earlier album it still brings back traditional metal from the 80s. Although this album does bring back traditional metal it still has some modern feel to it.

In conclusion, Forever Black is a reminder of what metal was like while it still having a modern feel to it. There are some flaws with it but it is nevertheless a great album.

Lord Shadow



..::TRACK-LIST::..

1. The Call 1:04
2. Legions Arise 3:19
3. The Frost Monstreme 5:16
4. The Fire Divine 3:51
5. Stormbringer 5:59
6. Fractus Promissum 4:08
7. Nightmare 6:00
8. Before Tomorrow 3:58
9. Forever Black 5:35



..::OBSADA::..

Vocals - Tim Baker
Drums, Horn [Horn Of Chaos] - Robert Garven
Guitar - Greg Lindstrom, Jim Barraza
Bass, Executive-Producer, Management [Personal Management] - Jarvis Leatherby




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



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

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


..::OPIS::..

Epitet „kultowy” w odniesieniu do zespołów i płyt przez lata stracił na znaczeniu i dziś wydaje się niemal pustym, nic nie znaczącym sloganem. Jeśli jednak przywrócić mu właściwy ciężar i określić nim jakiś band z całą odpowiedzialnością wagi tego słowa, to Cirith Ungol jest przykładem idealnym. Do tej pory mieli na koncie zaledwie cztery pełne płyty, ale zdążyli dopracować się nabożnego szacunku i grona absolutnie zaprzysięgłych fanów. W epickim, surowym heavy metalu nie jest to specjalnie rzadkie zjawisko, ale mityczna otoczka Amerykanów zaczęła żyć własnym życiem, a zespół rozpalał kolejne pokolenia słuchaczy, mimo braku aktywności przez ponad dwie dekady. Być może jakoś przyczyniła się do tego plotka, według której krytycy mieli określić Frost And Fire (debiutancki album zespołu) mianem najgorszej płyty w historii metalu. Trudno o lepszą reklamę niż całkowicie negatywny kontent. Reszta jest historią.

Od wydania Paradise Lost, ostatniego albumu Cirith Ungol, minęło dwadzieścia dziewięć lat. Co sprawiło, że po tak długiej przerwie grupa postanowiła wrócić do życia? Nie wnikam w faktyczne motywacje muzyków, ale po kilkutygodniowym obcowaniu z Forever Black trudno oprzeć się wrażeniu, że Panowie wrócili, żeby zrobić porządek na scenie. Trzeba jasno powiedzieć, że w wąskim światku metalu spod znaku Conana Barbarzyńcy dzieje się ostatnio naprawdę dużo dobrego. Coraz więcej młodych grup, jak i bardziej ugruntowanych zespołów potrafi grać, choć ze świadomością, że nie da się na nowo wskrzesić martwego od lat trupa. Aż tu nagle przychodzi Tim Baker z ekipą.

Forever Black nie jest rewolucyjnym przewrotem. Dużym błędem byłoby założenie, że surowy, epicki heavy metal można przedefiniować i napisać na nowo jego prawa. Tego zrobić się nie da, a kto może wiedzieć o tym lepiej, niż zespół, który w pisaniu tych praw miał czynny udział? Ale można spróbować wtoczyć w niego świeżą krew, zaaplikować adrenalinę i dawkę silnych elektrowstrząsów. W każdym innym przypadku byłoby to tylko pudrowanie nieboszczyka, ale nie tutaj. Amerykanie przystępują do pełnej reanimacji, doskonale wiedząc, co robią i jaki będzie efekt. Środki są proste – mocarny riff, zaczerpnięta z klasycznego hard rocka solówka, średnie tempa, trochę galopady, melodia i przede wszystkim pomysł, który zepnie wszystko w spójną klamrę i nada cech zwartej, pancernej kompozycji. Do tego jeszcze dwa niezbędne składniki – pierwszy to wciąż niesamowity głos Bakera, którzy wrzeszczy w wysokich rejestrach, a kiedy trzeba potrafi obniżyć skalę do niebezpiecznych poziomów. Wokal zawsze wyróżniał Cirith Ungol na tle konkurencji i robi to także teraz. Trudno uwierzyć, że przez tyle lat w ogóle się nie zmienił, wciąż brzmi oryginalnie, groźnie i bardzo charakterystycznie. Wystarczy posłuchać na przykład Before Tomorrow, by zrozumieć o co chodzi. Drugi składnik to brzmienie – wciąż jaskiniowe i surowe, ale przez lata nabrało mocy i szlachetności. Wciąż jest w nim szczypta prymitywizmu pierwszej płyty, ale czuć też siłę One Foot In Hell i cały posmak tego, czym prawdziwy, wyrwany z doom metalu i hard rocka metal powinien być.

Kompozycyjnie album jest w zasadzie idealny. Doskonałe wyważenie melodyki i okraszających ją riffów, kilka mądrze wplecionych akustycznych fragmentów budujących klimat, worek pomysłów zamkniętych w dziewięciu piosenkach, opartych na średnich tempach. Wszystko to, co znane i kochane przez wielu. W muzyce Amerykanów jest dużo przestrzeni, która sprawia, że numery nie duszą się we własnym sosie, wręcz przeciwnie.

Zaryzykuję stwierdzenie, że Cirith Ungol zatoczył koło. Rozpoczął marsz ku chwale gatunku, wytyczył ścieżki dla innych i ustawił drogowskazy. A teraz wrócił z niebytu, udowodnił kto tu rządzi i doprowadził swój muzyczny świat do ściany. W tej niszy nie da się już lepiej.

Rafał Chmura


Cirith Ungol. The name looms large in the history of heavy metal. Though the mercurial act released only 4 albums, their impact on the genre was great and long-lasting. Their unusual style influenced everything from doom to traditional and trve metal, and countless bands owe their core sound to albums like King of the Dead and One Foot in Hell. They were one of the most unique, quirky bands in metal history and they’ve always held a special place in my heart ov Steel. Loathe though I am to admit it, I never cared for their final album, 1991s Paradise Lost. It felt like a weak, half-hearted ending to a great career and always left me with the taste of ashes whenever I thought about it. Fast forward nearly 30 years, past a number of rumored reunions, and we finally get another Cirith Ungol album featuring 3 original members. Naturally, I was apprehensive that the band could produce something worthwhile after a near lifetime in limbo, and I dreaded the idea of another sub-par release to further tar their legacy. I was but a fool to harbor such doubts, as Forever Black is exactly the album we should have gotten back in 1991. It sounds like a natural follow up to 1986s One Foot in Hell, and most importantly, it sounds like vintage Cirith Ungol, Iron Gods be praised!

As soon as “Legions Arise” burst forth from the speakers, you hear the might and majesty of the REAL Cirith Ungol born again in fire and fury. It’s as if the long years fade away and we’re in the 80s again. Tim Baker’s vocals sound even more forceful than ever somehow and the band sounds full of righteous anger and furious wrath. The song feels like the spiritual successor to their classic “Blood and Iron” but more aggressive and powerful. From there “The Frost Monstreme”1 slows things down into classic Cirith plod and thud territory, and again the band sounds in vintage form. All the elements that made them such a ungainly, awkward pleasure are still there, untouched by the ages or trends.

Along with the titanic opener, the massive “Stormbringer” shows a band still capable of penning enormous pieces of classic proto-metal, on par with and as vital as their early works. It’s exactly what I want from the band, sounding like something off of King of the Dead, merging doom and trve metal into a ponderous chunk of steel so weighty, I can barely move it to my workout playlist. Baker even utilizes clean vocals briefly before launching into his full-throated roars and bellows as the song steamrolls through the Hyborian age, toppling false idols and medieval power structures in the process. The album winds out with back-to-back atom smashers, “Before Tomorrow” and “Forever Black,” the former bristling with primordial old school riffing and trve heaviness. Its plod is juggernaut-like and Tim Baker sounds like an angry, hungry monster. Closer “Forever Black” feels like a call back to “Paradise Lost,” the only great song from the Paradise Lost album. It’s slow, massive sounding, and as metal as metal can be without becoming diamond. It’s also quite dark, which suits Cirith Ungol down to their ancient Tolkienisms.

Is Forever Black a perfect comeback? No. “The Fire Divine” is a bit too awkward, though it benefits from riffing strongly reminiscent of early Pentrgram, and “Nightmare” is a decent song that drags on too long and peters out before the end. Additionally, the standout cuts like “Legions Arise” and “Stormbringer” are so good they make the surrounding tracks feel weak by comparison, though they mostly aren’t. After such a long hiatus do I have a right to expect an album full of songs capable of competing with the very best of their legendary albums? Probably not, but I’m glad we got a few such monumental monoliths. The biggest shock is how amazing Tim Baker sounds nearly 30 years after his heyday. Always one of metal’s most unusual voices, he’s still every bit as wild and off-kilter as ever, and sometimes sounds even better than he once did. Greg Lindstrom and Jim Barraza combine to ensure the band’s trademark offbeat guitar style is adhered to, while adding slightly more upbeat riffing like on “Fractus Promissum.” That all the elements of their inimitable style survived the long absence does my heart good.

I didn’t know what to expect from Cirith Ungol after such a massive layoff, but Forever Black certainly exceeds all expectations I dared harbor. I don’t know if this is a one-off or if the band plans to make a another go of it, but if this is the final stone on the Cirith Ungol cenotaph, it’s a just and proper one. The Lords of the Weird have been appeased and the ways of the trve are ascendant once more. Praise be the black forever.

Steel Druhm


Cirith Ungol Forever Black has just blown me away. In this album, there are no bad songs. Using a combination of good vocals, great guitar and drum play, a combination of old and new styles, and great lyric writing to make an overall amazing album.

First, there are the vocals (sang by Tim Baker). When listing to the vocals I did not expect them to be as good as they are. I loved how at some parts he starting screeching in some parts of the album while not doing it all the time (because screaming like a rabbit in an entire album is annoying as fuck). Next, is the drums (played by Robert Garven). The drumming was just as great as the vocals were during this album. Now, the bass (played by Jarvis Leatherby). The bass was very in tune with the rest of the album and it was perfectly played by Lestherby. The guitars (played by Greg Lindstrom and Jim Barraza) were very great along with vocals and other instruments.

I loved how some of the lyrics had some stories to tell. One good example is Stormbringer which gives you tells you about a blade (most likely a sword but we will never really know) and what it can do but still with some unanswered questions (who is wielding the blade and how are they being one?) Another good example of this tactic they are using is Legions Arise. It is about how an undead army is being summoned with giving you good details but still leaving some questions unanswered like who is the person (or group) summoning them.

Forever Black is a very good reminder of how metal was in the 80s. It was a time when bands like Metallica and Slayer were at their golden age. It was a time before nu-metal took the spotlight (then being brought down by Metalcore bands like As I Lay Dying). Even though, Forever Black is different from Cirith Ungol's earlier album it still brings back traditional metal from the 80s. Although this album does bring back traditional metal it still has some modern feel to it.

In conclusion, Forever Black is a reminder of what metal was like while it still having a modern feel to it. There are some flaws with it but it is nevertheless a great album.

Lord Shadow



..::TRACK-LIST::..

1. The Call 1:04
2. Legions Arise 3:19
3. The Frost Monstreme 5:16
4. The Fire Divine 3:51
5. Stormbringer 5:59
6. Fractus Promissum 4:08
7. Nightmare 6:00
8. Before Tomorrow 3:58
9. Forever Black 5:35



..::OBSADA::..

Vocals - Tim Baker
Drums, Horn [Horn Of Chaos] - Robert Garven
Guitar - Greg Lindstrom, Jim Barraza
Bass, Executive-Producer, Management [Personal Management] - Jarvis Leatherby




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



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

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



Absolutna klasyka Heavy Metalu. Drugi album The Rods z 1982 roku.



..::TRACK-LIST::..

1. Too Hot To Stop 4:05
2. Waiting For Tomorrow 3:58
3. Violation 5:09
4. Burned By Love 4:05
5. Wild Dogs 3:25
6. You Keep Me Hangin' On (The Supremes cover) 3:46
7. Rockin' & Rollin' Again 3:16
8. End Of The Line 5:25
9. No Sweet Talk, Honey 3:31
10. The Night Lives To Rock 3:20

Bonus Tracks:
11. Wings Of Fire (Single B-side) 3:49
12. City Girls (Outtake) 2:58
13. Too Hot To Stop (Cleaned-Up Version/Promo 12'' 3:40
14. Rockin' & Rollin' Again (Live) 3:33
15. Waiting For Tomorrow (Live) 3:46
16. The Night Lives To Rock (Live) 3:39
17. Too Hot To Stop (Live) 4:19
18. Power Lover (Live) 4:28



..::OBSADA::..

Bass, Vocals - Garry Bordonaro
Drums, Vocals, Producer - Carl Canedy
Guitar, Vocals, Producer - David 'Rock' Feinstein




https://www.youtube.com/watch?v=S1qOzeBH5B0



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

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



Absolutna klasyka Heavy Metalu. Drugi album The Rods z 1982 roku.



..::TRACK-LIST::..

1. Too Hot To Stop 4:05
2. Waiting For Tomorrow 3:58
3. Violation 5:09
4. Burned By Love 4:05
5. Wild Dogs 3:25
6. You Keep Me Hangin' On (The Supremes cover) 3:46
7. Rockin' & Rollin' Again 3:16
8. End Of The Line 5:25
9. No Sweet Talk, Honey 3:31
10. The Night Lives To Rock 3:20

Bonus Tracks:
11. Wings Of Fire (Single B-side) 3:49
12. City Girls (Outtake) 2:58
13. Too Hot To Stop (Cleaned-Up Version/Promo 12'' 3:40
14. Rockin' & Rollin' Again (Live) 3:33
15. Waiting For Tomorrow (Live) 3:46
16. The Night Lives To Rock (Live) 3:39
17. Too Hot To Stop (Live) 4:19
18. Power Lover (Live) 4:28



..::OBSADA::..

Bass, Vocals - Garry Bordonaro
Drums, Vocals, Producer - Carl Canedy
Guitar, Vocals, Producer - David 'Rock' Feinstein




https://www.youtube.com/watch?v=S1qOzeBH5B0



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

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


..::OPIS::..

Genialny album - bez wątpienia jeden z pięciu najlepszych powstałych w kraju spaghetti westernów, a zawierający tylko dwie 20-minutowe kompozycje - pełne smakowitych, głównie gitarowych partii instrumentalnych.
Połączenie estetyki Pink Floyd z 1969 roku, z nieco rozmarzonym Hendrixem!



Garybaldi's last album ever is made up of only two long epic tracks: "Madre di cose perdute" and "Sette?", but that's enough to give us an absolute pearl of the genre.
What is absolutely evident for all to see is Bambi Fossati's Hendrix-influenced guitar playing and song writing style, infact the opening track seems to own a lot to "1983...(a merman I should turn to be)" from "Electric Ladyland". Not to mention how the second track recalls very closely "Voodoo Child" , not only in the musical structure, but also in the informal context in which the song was recorded: in other words a very long jam session, however brilliant.

This record differs very much from Garybaldi's previous release "Nuda", a work with much more keyboards and much closer to a "symphonic" prog sound; "Astrolabio" is totally different: the guitar reigns on everything, and the sound of the band is much closer to psychedelic /space rock kind of thing.

From a chronological point of view Fossati's guitar playing is incredible, considered the Italian guitarists scene of the time.

The record in the end risults very homogeneous and very enjoyable to the listener, and it is different from anything else in Rock Progressivo Italiano: a truly unique sound and style, powerful, evocative and visionary; impossible to ignore.

A truly gem, a must have.

Malve87


The second album under the Garybaldi name (but the third overall from the group) is maybe their best, but be prepared for a very short track list as only two of them lasting each their own vinyl side. With this album, they only confirm the direction they had taken with the sidelong suite from their debut album. Rumours has it that keyboardist Lio Marchi played on this as a session man - he does not get any writing credits, although he is very present.
Mother Of Lost Causes starts off as a very spacey-sounding exploration, but soon develops superbly what they had promised with the Moretto Da Brescia pinnacle of Nuda. Simply superb double-tracked guitar wailing somehow reminding more of Robin Trower (another Hendrix-ey connection) and very abruptly ended by an almost sonar- echoed repeating key that is reminiscent of a great Argent track. Astounding stuff, you proheads!!! In Italy only Flea (with their Topi O Uomini album) approaches such a complete feast of guitars at the time.

The second track is recorded live and is kick-arse rock'n roll (sometimes sounding a bit like Hendrix's Voodoo Chile played by Trower) and some wild KB-guitars (Purple-like) call and response. This track is not quite as proggy as the previous one, but shows another facet (improvising) of the group. Pity these guys stopped so soon, even if Fossatti will make further records.

Easily their better album, this lengthy solo feast is never over-indulgent or gratuitous heroics and in its genre is a textbook example of its own.

Sean Trane



..::TRACK-LIST::..

1. Madre Di Cose Perdute 20:30
2. Sette? 21:23



..::OBSADA::..

Guitar, Guitar [Leslie], Vocals, Effects [Chitarra Cosmica] - 'Bambi' P.N. Fossati
Drums, Vocals, Effects - Maurizio Cassinelli
Bass, Vocals - Sandro Serra

Keyboards - Lio Marchi




https://www.youtube.com/watch?v=5FGxsCy8L7Y


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

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


..::OPIS::..

Genialny album - bez wątpienia jeden z pięciu najlepszych powstałych w kraju spaghetti westernów, a zawierający tylko dwie 20-minutowe kompozycje - pełne smakowitych, głównie gitarowych partii instrumentalnych.
Połączenie estetyki Pink Floyd z 1969 roku, z nieco rozmarzonym Hendrixem!



Garybaldi's last album ever is made up of only two long epic tracks: "Madre di cose perdute" and "Sette?", but that's enough to give us an absolute pearl of the genre.
What is absolutely evident for all to see is Bambi Fossati's Hendrix-influenced guitar playing and song writing style, infact the opening track seems to own a lot to "1983...(a merman I should turn to be)" from "Electric Ladyland". Not to mention how the second track recalls very closely "Voodoo Child" , not only in the musical structure, but also in the informal context in which the song was recorded: in other words a very long jam session, however brilliant.

This record differs very much from Garybaldi's previous release "Nuda", a work with much more keyboards and much closer to a "symphonic" prog sound; "Astrolabio" is totally different: the guitar reigns on everything, and the sound of the band is much closer to psychedelic /space rock kind of thing.

From a chronological point of view Fossati's guitar playing is incredible, considered the Italian guitarists scene of the time.

The record in the end risults very homogeneous and very enjoyable to the listener, and it is different from anything else in Rock Progressivo Italiano: a truly unique sound and style, powerful, evocative and visionary; impossible to ignore.

A truly gem, a must have.

Malve87


The second album under the Garybaldi name (but the third overall from the group) is maybe their best, but be prepared for a very short track list as only two of them lasting each their own vinyl side. With this album, they only confirm the direction they had taken with the sidelong suite from their debut album. Rumours has it that keyboardist Lio Marchi played on this as a session man - he does not get any writing credits, although he is very present.
Mother Of Lost Causes starts off as a very spacey-sounding exploration, but soon develops superbly what they had promised with the Moretto Da Brescia pinnacle of Nuda. Simply superb double-tracked guitar wailing somehow reminding more of Robin Trower (another Hendrix-ey connection) and very abruptly ended by an almost sonar- echoed repeating key that is reminiscent of a great Argent track. Astounding stuff, you proheads!!! In Italy only Flea (with their Topi O Uomini album) approaches such a complete feast of guitars at the time.

The second track is recorded live and is kick-arse rock'n roll (sometimes sounding a bit like Hendrix's Voodoo Chile played by Trower) and some wild KB-guitars (Purple-like) call and response. This track is not quite as proggy as the previous one, but shows another facet (improvising) of the group. Pity these guys stopped so soon, even if Fossatti will make further records.

Easily their better album, this lengthy solo feast is never over-indulgent or gratuitous heroics and in its genre is a textbook example of its own.

Sean Trane



..::TRACK-LIST::..

1. Madre Di Cose Perdute 20:30
2. Sette? 21:23



..::OBSADA::..

Guitar, Guitar [Leslie], Vocals, Effects [Chitarra Cosmica] - 'Bambi' P.N. Fossati
Drums, Vocals, Effects - Maurizio Cassinelli
Bass, Vocals - Sandro Serra

Keyboards - Lio Marchi




https://www.youtube.com/watch?v=5FGxsCy8L7Y


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

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


..::OPIS::..

To już banał, że album koncertowy nie jest w stanie w pełni oddać autentyczności koncertów zespołu. Mimo to, 'The Youth Are Getting Restless' jest cholernie blisko.
Jeśli istnieje lepszy przykład genialnych koncertów, z których Bad Brains słynęli w połowie lat 80, to jeszcze się nie pojawił...

FA


'The Youth Are Getting Restless' is a live album from Bad Brains, recorded at the Paradiso Theater in Amsterdam, the Netherlands, in 1987 by the VPRO. The show was part of the band's I Against I tour. This reissue marks the sixth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.



..::TRACK-LIST::..

Recorded Live At The Paradiso, Amsterdam, May 28th 1987

1. I 2:33
2. Rock For Light 1:40
3. Right Brigade 2:30
4. House Of Suffering 2:04
5. Day Tripper / She's A Rainbow 4:53
[Day Tripper] - Lennon/McCartney
[She's A Rainbow] - Jagger/Richards

6. Coptic Times 2:10
7. Sacred Love 3:26
8. Re-Ignition 4:30
9. Let Me Help 1:54
10. The Youth Are Getting Restless 3:58
11. Banned In D.C. 2:14
12. Sailin' On 1:52
13. Fearless Vampire Killer 1:12
14. At The Movies 2:50
15. Revolution [Dub] (Dennis Brown cover) 4:27
16. Pay To Cum 1:41
17. Big Takeover 3:26



..::OBSADA::..

Vocals [Throat] - H.R.
Guitar [Gits] - Dr. Know
Bass - Darryl
Drums - Earl Hudson




https://www.youtube.com/watch?v=ZSxiJl6kmLk



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

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


..::OPIS::..

To już banał, że album koncertowy nie jest w stanie w pełni oddać autentyczności koncertów zespołu. Mimo to, 'The Youth Are Getting Restless' jest cholernie blisko.
Jeśli istnieje lepszy przykład genialnych koncertów, z których Bad Brains słynęli w połowie lat 80, to jeszcze się nie pojawił...

FA


'The Youth Are Getting Restless' is a live album from Bad Brains, recorded at the Paradiso Theater in Amsterdam, the Netherlands, in 1987 by the VPRO. The show was part of the band's I Against I tour. This reissue marks the sixth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.



..::TRACK-LIST::..

Recorded Live At The Paradiso, Amsterdam, May 28th 1987

1. I 2:33
2. Rock For Light 1:40
3. Right Brigade 2:30
4. House Of Suffering 2:04
5. Day Tripper / She's A Rainbow 4:53
[Day Tripper] - Lennon/McCartney
[She's A Rainbow] - Jagger/Richards

6. Coptic Times 2:10
7. Sacred Love 3:26
8. Re-Ignition 4:30
9. Let Me Help 1:54
10. The Youth Are Getting Restless 3:58
11. Banned In D.C. 2:14
12. Sailin' On 1:52
13. Fearless Vampire Killer 1:12
14. At The Movies 2:50
15. Revolution [Dub] (Dennis Brown cover) 4:27
16. Pay To Cum 1:41
17. Big Takeover 3:26



..::OBSADA::..

Vocals [Throat] - H.R.
Guitar [Gits] - Dr. Know
Bass - Darryl
Drums - Earl Hudson




https://www.youtube.com/watch?v=ZSxiJl6kmLk



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

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



Punk rzekomo umarł ale najwyraźniej ktoś zapomniał powiedzieć o tym PHOBII!!!
Mroczna, brudna i ostra jak brzytwa! To kolejny triumf kalifornijskich królów crust-grindu!



..::TRACK-LIST::..

1. Bring The War 02:28
2. Savannah's Assault 00:38
3. Continue Insane 01:13
4. MBP 00:11
5. Death To Pigs 00:59
6. Ultimate Suffering 01:24
7. Sane 01:07
8. Anarchist Farce 00:29
9. Beer, Bitches, and Bulletbelts 01:01
10. Rise Up 01:43
11. Abuse The Truth 00:46
12. Wasted Time 01:14
13. Instruments Of Deception 02:41
14. Soulless Eyes 00:54
15. I Reject 00:58
16. Dead End 01:13
17. Protest/Solution 01:23
18. Nihilistic Grindcore 00:21
19. Eyes Of A Citizen 01:41
20. Bleed To The End 01:25
21. Depression Is A Killer 02:00
22. Blackened Day 02:58



..::OBSADA::..

Vocals, Lyrics By - Shane McLachlan
Drums - Danny Walker
Guitar - Steve Burda
Guitar, Layout - Leon Del Muerte

Backing Vocals - Calum MacKenzie (tracks: 1, 10, 15), Tom Perdition (tracks: 1, 10, 15)



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


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

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



Punk rzekomo umarł ale najwyraźniej ktoś zapomniał powiedzieć o tym PHOBII!!!
Mroczna, brudna i ostra jak brzytwa! To kolejny triumf kalifornijskich królów crust-grindu!



..::TRACK-LIST::..

1. Bring The War 02:28
2. Savannah's Assault 00:38
3. Continue Insane 01:13
4. MBP 00:11
5. Death To Pigs 00:59
6. Ultimate Suffering 01:24
7. Sane 01:07
8. Anarchist Farce 00:29
9. Beer, Bitches, and Bulletbelts 01:01
10. Rise Up 01:43
11. Abuse The Truth 00:46
12. Wasted Time 01:14
13. Instruments Of Deception 02:41
14. Soulless Eyes 00:54
15. I Reject 00:58
16. Dead End 01:13
17. Protest/Solution 01:23
18. Nihilistic Grindcore 00:21
19. Eyes Of A Citizen 01:41
20. Bleed To The End 01:25
21. Depression Is A Killer 02:00
22. Blackened Day 02:58



..::OBSADA::..

Vocals, Lyrics By - Shane McLachlan
Drums - Danny Walker
Guitar - Steve Burda
Guitar, Layout - Leon Del Muerte

Backing Vocals - Calum MacKenzie (tracks: 1, 10, 15), Tom Perdition (tracks: 1, 10, 15)



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


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

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


..::OPIS::..

Ta godzina niesamowitego muzycznego napięcia i 'szaleństwa' zawsze ucieka mi niczym krwawa rzeka.
Płyta dosłownie tryska energią. Macie dwie możliwości.
Albo wytrzymacie napór i po chwili zgodzicie się na tę całą makabryczną grę, albo tchórzliwie spierdolicie.
Gdzieś czytałem, że na Malcie żyje specjalny gatunek pszczół, który produkuje niezwykle odurzający miód. Jeśli tak jest naprawdę, to panowie z ABYSMAL TORMENT musieli zostać użądleni przez jakiś naprawdę wkurwiony rój.

FA

Abysmal Torment w ciągu kilkunastu lat scenicznej działalności dorobili się przyzwoitego grona zwolenników na całym świecie, ale cuś mi się wydaje, że z lekka przeceniają u nich głód swojej muzyki i ogólne oddanie. Maltańczycy postanowili bowiem wynagrodzić fanom pięcioletnią przerwę wydawniczą i na potrzeby Cultivate The Apostate skomponowali pełną godzinę brutalnych death metalowych tortur. W tym miejscu kark mięknie, a kolana się uginają, bo jak dobry by nie był ten materiał, jest go po prostu od zajebania, a odnosząc go ilościowo do średniej gatunkowej – dostaliśmy (przynajmniej) dwa albumy w cenie jednego. Promocja jak w Biedronce – oszczędność kasy i miejsca na półce, zastanawia mnie tylko, kto — nawet z najtwardszych zawodników — będzie w stanie wysłuchać Cultivate The Apostate od początku do końca z pełną uwagą, nie wyrywając się w międzyczasie do innych zajęć. Tym bardziej, że Abysmal Torment nie stosują tu żadnych trików nabijających czas: rozbudowanych introsów, przerywników czy kilkunastominutowych fragmentów ciszy przed „ukrytymi” kawałkami – nie, zrobili aż trzynaście konkretnych numerów i w każdym napierają pozbawiony udziwnień, zwarty, stuprocentowo amerykański i odpowiednio techniczny brutal death metal.

Warto przy tym zaznaczyć, że trzymają zaskakująco równy poziom przez całą płytę, ani na chwilę nie spuszczając z tonu. Mimo to udało mi się wychwycić aż trzy kawałki, które wybijają się nieco za sprawą bardziej chwytliwych riffów: „Communion Of Ejaculation”, „Metamorphis Of The Maggots” i „Amidst Your Scorched Barren Shrine”. Z góry jednak ostrzegam, że różnice między nimi a pozostałymi są naprawdę minimalne i nie ma sensu nastawiać się na jakieś symfonie urozmaiceń. Godzina takiego grania to nie w kij dmuchał i dlatego bez odpowiedniego podejścia i znaaacznej ilości wolnego czasu Cultivate The Apostate potrafi dość szybko zmęczyć i w konsekwencji zanudzić. I obojętnie jaki aspekt tego albumu byśmy rozpatrywali, czego byśmy nie wychwalali, wrócimy do jego objętości. Muzycy Abysmal Torment najwyraźniej chcieli tym kolosalnym materiałem uszczęśliwić wielu, ale raczej zawęzili krąg potencjalnych odbiorców, bo wyszła im płyta dla bardzo zdeterminowanych.

demo


Abysmal Torment is known as a brutal death metal band and this is exemplified greatly by this beast of an album. Their previous work "Omnicide" was very underwhelming to me personally, although it was reviewed very highly. This time around the band may have had the biggest step up in terms of progression I have personally ever seen. This overall is an amazing album and should definitely be recognized as the best brutal death metal album this year so far in my opinion, even if it does have its faults. Both will be mentioned in this review.

I will start with the instrumentals: The guitars are tuned in a way that is very reminiscent to the old school Swedish/Finnish death metal chainsaw sound, and it sounds amazing for the album as a whole; if you like old Demigod, you will love the sound of this album. One of my favorite things about the album is how thick the guitar wall is on the entirety of the album, it doesn't sound muddy or distorted at all, just overwhelming and grandiose. The guitar work is very solid, while it is usually very fast throughout, it never gets overly technical to where it loses its slamming brutality. To mention the slamming brutality, holy crap people, if you are a fan of slam, this is basically a dream come true. The album clocks in at almost exactly an hour and the entire time is spent slamming, while still done tastefully. One of my favorites is in "Amidst Your Scorched Barren Shrine"; the slam in the middle of that song is almost nauseating to hear it is so hard and heavy.

The guitars usually keep a chug pattern throughout the slams, but almost every slam has its own little harmonic piece to go along with it on the lead guitar, a very nice accent to break the monotony that can come with the genre. A small complaint I have is that there is a dearth of solos on this behemoth of an album; I know it is usual for the genre but since it is a full hour long, they could have incorporated a few in somewhere. While this may be a brutal death metal album, the guitars are actually very groovy at parts, in "Hymn to Lucifer" there is a riff in that song that I guarantee will get stuck in your head for some time, which will make you listen to it over and over again to satiate it.

The drums are very present in this album, which they better be if you plan to have any chance at being a brutal death metal band. Most of the time filled is blasting which may be a turn off to some, but there is actually a ton of variation to the drumming. One thing I love, and don't see often is during the super heavy parts or slams, he matches the bass drum with the chug and it just amplifies the heaviness so much it's unreal; more people need to do it. The fills are never repetitive and are fast as crap, usually incorporating the bass drum in with it which is a plus. The bass is audible but underwhelming compared to the hulking beast that are the guitar walls on this album, some may hear it better than I but that is what I can tell.

Now to get to my complaints: The vocals are my biggest complaint of the album and is what detracts the most from this master work of brutality. They are mid range and stay mid range almost throughout the entire album, except for a handful of high pitch screams here and there. They are not bad at all on their own, don't get me wrong, but the fact that they stay so flat for the entire hour is almost infuriating. If I could give some advice to someone who listens to this: don't listen to it all at once, do 2 or 3 sessions because I love brutal death metal as much as anyone out there, but these vocals frankly got on my nerves around the 30 minute mark. I also noticed that the back half of the album is leaps and bounds better than the front half in my opinion, the first half of the album kind of blends together with the constant brutality. The back half is much more listenable and memorable, but again this is only my opinion. One last thing is I think it would benefit the album greatly if maybe 1 or 2 songs sidestepped the never ending slams to do some melodic work; the little accents on the slams sound amazing and a song made entirely of those in the midst of this crazy album would be nice, and are almost needed.

Some things outside of the music that deserve mentioning are that the album artwork is freaking insane. Some of the best artwork I've ever seen for a brutal death metal album, not just blood, gore and naked women; some serious symbolism in this that deserves a second look and comprehension if you're into that side of the music. The production value is great and is mixed very well, albeit some parts could be turned up or down at times. The physical copy of the album is great, high quality and has amazing artwork in the booklet, even including relevant quotes from notable people in history. Nothing about it feels cheap or flimsy (the jewel case version). If you are a fan of slam or brutal death metal you will love this almost unconditionally so I highly recommend you give this a listen, you wont regret it.

epicdrumline



..::TRACK-LIST::..

1. Whispering Venomous Ones 04:48
2. Host Of The Swine 04:36
3. Communion Of Ejaculation 03:46
4. Dead In The Flesh 04:24
5. Metamorphis Of The Maggots 04:42
6. Strangled Within Coils 04:35
7. Amidst Your Scorched Barren Shrine 04:47
8. Hang Them High 04:16
9. Dawning New Aeon 05:05
10. Malkuth 04:32
11. Conjured To Serve None 05:12
12. Hymn To Lucifer 04:34
13. Cultivate The Apostate 04:39



..::OBSADA::..

Nick Farrugia - Vocals
Melchior Borg - Vocals
Kurt Pace - Guitars
Karl Romano - Bass
Max Vassallo - Drums
David Depasquale - Guitars




https://www.youtube.com/watch?v=qORlDGh2D8E



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

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


..::OPIS::..

Ta godzina niesamowitego muzycznego napięcia i 'szaleństwa' zawsze ucieka mi niczym krwawa rzeka.
Płyta dosłownie tryska energią. Macie dwie możliwości.
Albo wytrzymacie napór i po chwili zgodzicie się na tę całą makabryczną grę, albo tchórzliwie spierdolicie.
Gdzieś czytałem, że na Malcie żyje specjalny gatunek pszczół, który produkuje niezwykle odurzający miód. Jeśli tak jest naprawdę, to panowie z ABYSMAL TORMENT musieli zostać użądleni przez jakiś naprawdę wkurwiony rój.

FA

Abysmal Torment w ciągu kilkunastu lat scenicznej działalności dorobili się przyzwoitego grona zwolenników na całym świecie, ale cuś mi się wydaje, że z lekka przeceniają u nich głód swojej muzyki i ogólne oddanie. Maltańczycy postanowili bowiem wynagrodzić fanom pięcioletnią przerwę wydawniczą i na potrzeby Cultivate The Apostate skomponowali pełną godzinę brutalnych death metalowych tortur. W tym miejscu kark mięknie, a kolana się uginają, bo jak dobry by nie był ten materiał, jest go po prostu od zajebania, a odnosząc go ilościowo do średniej gatunkowej – dostaliśmy (przynajmniej) dwa albumy w cenie jednego. Promocja jak w Biedronce – oszczędność kasy i miejsca na półce, zastanawia mnie tylko, kto — nawet z najtwardszych zawodników — będzie w stanie wysłuchać Cultivate The Apostate od początku do końca z pełną uwagą, nie wyrywając się w międzyczasie do innych zajęć. Tym bardziej, że Abysmal Torment nie stosują tu żadnych trików nabijających czas: rozbudowanych introsów, przerywników czy kilkunastominutowych fragmentów ciszy przed „ukrytymi” kawałkami – nie, zrobili aż trzynaście konkretnych numerów i w każdym napierają pozbawiony udziwnień, zwarty, stuprocentowo amerykański i odpowiednio techniczny brutal death metal.

Warto przy tym zaznaczyć, że trzymają zaskakująco równy poziom przez całą płytę, ani na chwilę nie spuszczając z tonu. Mimo to udało mi się wychwycić aż trzy kawałki, które wybijają się nieco za sprawą bardziej chwytliwych riffów: „Communion Of Ejaculation”, „Metamorphis Of The Maggots” i „Amidst Your Scorched Barren Shrine”. Z góry jednak ostrzegam, że różnice między nimi a pozostałymi są naprawdę minimalne i nie ma sensu nastawiać się na jakieś symfonie urozmaiceń. Godzina takiego grania to nie w kij dmuchał i dlatego bez odpowiedniego podejścia i znaaacznej ilości wolnego czasu Cultivate The Apostate potrafi dość szybko zmęczyć i w konsekwencji zanudzić. I obojętnie jaki aspekt tego albumu byśmy rozpatrywali, czego byśmy nie wychwalali, wrócimy do jego objętości. Muzycy Abysmal Torment najwyraźniej chcieli tym kolosalnym materiałem uszczęśliwić wielu, ale raczej zawęzili krąg potencjalnych odbiorców, bo wyszła im płyta dla bardzo zdeterminowanych.

demo


Abysmal Torment is known as a brutal death metal band and this is exemplified greatly by this beast of an album. Their previous work "Omnicide" was very underwhelming to me personally, although it was reviewed very highly. This time around the band may have had the biggest step up in terms of progression I have personally ever seen. This overall is an amazing album and should definitely be recognized as the best brutal death metal album this year so far in my opinion, even if it does have its faults. Both will be mentioned in this review.

I will start with the instrumentals: The guitars are tuned in a way that is very reminiscent to the old school Swedish/Finnish death metal chainsaw sound, and it sounds amazing for the album as a whole; if you like old Demigod, you will love the sound of this album. One of my favorite things about the album is how thick the guitar wall is on the entirety of the album, it doesn't sound muddy or distorted at all, just overwhelming and grandiose. The guitar work is very solid, while it is usually very fast throughout, it never gets overly technical to where it loses its slamming brutality. To mention the slamming brutality, holy crap people, if you are a fan of slam, this is basically a dream come true. The album clocks in at almost exactly an hour and the entire time is spent slamming, while still done tastefully. One of my favorites is in "Amidst Your Scorched Barren Shrine"; the slam in the middle of that song is almost nauseating to hear it is so hard and heavy.

The guitars usually keep a chug pattern throughout the slams, but almost every slam has its own little harmonic piece to go along with it on the lead guitar, a very nice accent to break the monotony that can come with the genre. A small complaint I have is that there is a dearth of solos on this behemoth of an album; I know it is usual for the genre but since it is a full hour long, they could have incorporated a few in somewhere. While this may be a brutal death metal album, the guitars are actually very groovy at parts, in "Hymn to Lucifer" there is a riff in that song that I guarantee will get stuck in your head for some time, which will make you listen to it over and over again to satiate it.

The drums are very present in this album, which they better be if you plan to have any chance at being a brutal death metal band. Most of the time filled is blasting which may be a turn off to some, but there is actually a ton of variation to the drumming. One thing I love, and don't see often is during the super heavy parts or slams, he matches the bass drum with the chug and it just amplifies the heaviness so much it's unreal; more people need to do it. The fills are never repetitive and are fast as crap, usually incorporating the bass drum in with it which is a plus. The bass is audible but underwhelming compared to the hulking beast that are the guitar walls on this album, some may hear it better than I but that is what I can tell.

Now to get to my complaints: The vocals are my biggest complaint of the album and is what detracts the most from this master work of brutality. They are mid range and stay mid range almost throughout the entire album, except for a handful of high pitch screams here and there. They are not bad at all on their own, don't get me wrong, but the fact that they stay so flat for the entire hour is almost infuriating. If I could give some advice to someone who listens to this: don't listen to it all at once, do 2 or 3 sessions because I love brutal death metal as much as anyone out there, but these vocals frankly got on my nerves around the 30 minute mark. I also noticed that the back half of the album is leaps and bounds better than the front half in my opinion, the first half of the album kind of blends together with the constant brutality. The back half is much more listenable and memorable, but again this is only my opinion. One last thing is I think it would benefit the album greatly if maybe 1 or 2 songs sidestepped the never ending slams to do some melodic work; the little accents on the slams sound amazing and a song made entirely of those in the midst of this crazy album would be nice, and are almost needed.

Some things outside of the music that deserve mentioning are that the album artwork is freaking insane. Some of the best artwork I've ever seen for a brutal death metal album, not just blood, gore and naked women; some serious symbolism in this that deserves a second look and comprehension if you're into that side of the music. The production value is great and is mixed very well, albeit some parts could be turned up or down at times. The physical copy of the album is great, high quality and has amazing artwork in the booklet, even including relevant quotes from notable people in history. Nothing about it feels cheap or flimsy (the jewel case version). If you are a fan of slam or brutal death metal you will love this almost unconditionally so I highly recommend you give this a listen, you wont regret it.

epicdrumline



..::TRACK-LIST::..

1. Whispering Venomous Ones 04:48
2. Host Of The Swine 04:36
3. Communion Of Ejaculation 03:46
4. Dead In The Flesh 04:24
5. Metamorphis Of The Maggots 04:42
6. Strangled Within Coils 04:35
7. Amidst Your Scorched Barren Shrine 04:47
8. Hang Them High 04:16
9. Dawning New Aeon 05:05
10. Malkuth 04:32
11. Conjured To Serve None 05:12
12. Hymn To Lucifer 04:34
13. Cultivate The Apostate 04:39



..::OBSADA::..

Nick Farrugia - Vocals
Melchior Borg - Vocals
Kurt Pace - Guitars
Karl Romano - Bass
Max Vassallo - Drums
David Depasquale - Guitars




https://www.youtube.com/watch?v=qORlDGh2D8E



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

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


..::OPIS::..

At London’s Troxy, The Cure played their album ‘Songs of a Lost World’ live in its entirety for the first and only time in front of an audience of around 3,000. This extraordinary concert was captured on film and is being released as ‘The Show of a Lost World’ – a newly edited, remixed and remastered concert film featuring all 31 songs from the performance.



..::TRACK-LIST::..

'More Alone' Intro 2:47

Set 1 'Songs Of A Lost World'
Alone 7:17
And Nothing Is Forever 7:00
A Fragile Thing 4:48
Warsong 4:36
Drone:Nodrone 4:44
I Can Never Say Goodbye 5:59
All I Ever Am 5:29
Endsong 11:08


Set 2 'Other Songs'
Plainsong 5:15
Pictures Of You 7:09
High 3:38
Lovesong 3:35
Burn 6:27
Fascination Street 4:57
A Night Like This 4:17
Push 4:41
Inbetween Days 2:57
Just Like Heaven 3:58
From The Edge Of The Deep Green Sea 7:48
Disintegration 8:38


Set 3 'Seventeen Seconds Songs'
At Night 6:27
M 3:44
Secrets 3:26
Play For Today 4:00
A Forest 7:33


Set 4 'Encore Songs'
Lullaby 4:46
The Walk 3:33
Friday I'm In Love 4:04
Close To Me 3:36
Why Can't I Be You? 3:41
Boys Don't Cry 4:49



..::OBSADA::..

Voice, Guitar, Bass [V1 Bass] - Robert Smith
Drums, Percussion - Jason Cooper
Guitar, Bass [V1 Bass] - Reeves Gabrels
Keyboards [Keys] - Roger O'Donnell
Keyboards [Keys], Guitar, Bass [V1 Bass] - Perry Bamonte
Bass - Simon Gallup




https://www.youtube.com/watch?v=QA1lIQWU-EI



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

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



Nie jest to moja ulubiona estetyka muzyczna, niemniej przyznać muszę, iż 'Ov Apocalypse Incarnate' rozsiewa rzeź i brutalność w idealny sposób.



..::TRACK-LIST::..

1. Abiogenesys 01:22
2. Vestiges 03:17
3. Trenchrot 03:46
4. Acid Cloud 03:48
5. Enigmatic Infection 04:26
6. Mung Farm 04:27
7. Machine of Malice 03:12
8. Hellmouth 01:14
9. Ov Apocalypse Incarnate 04:46
10. Angel Lust 03:40
11. Parasitic Entities 04:23
12. Ununoctium 05:46



..::OBSADA::..

George Bauman - Guitars
Joey Glover - Drums
Corey Millett - Guitars, Bass
Zack LaShure - Vocals




https://www.youtube.com/watch?v=USbZ-wqPUYs


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

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



Nie jest to moja ulubiona estetyka muzyczna, niemniej przyznać muszę, iż 'Ov Apocalypse Incarnate' rozsiewa rzeź i brutalność w idealny sposób.



..::TRACK-LIST::..

1. Abiogenesys 01:22
2. Vestiges 03:17
3. Trenchrot 03:46
4. Acid Cloud 03:48
5. Enigmatic Infection 04:26
6. Mung Farm 04:27
7. Machine of Malice 03:12
8. Hellmouth 01:14
9. Ov Apocalypse Incarnate 04:46
10. Angel Lust 03:40
11. Parasitic Entities 04:23
12. Ununoctium 05:46



..::OBSADA::..

George Bauman - Guitars
Joey Glover - Drums
Corey Millett - Guitars, Bass
Zack LaShure - Vocals




https://www.youtube.com/watch?v=USbZ-wqPUYs


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

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


..::OPIS::..

Trzyletnia przerwa, dzieląca "Uzed" od poprzedniego w dyskografii Univers Zero albumu "Ceux Du Dehors", przyniosła wiele zmian. Przede wszystkim w składzie nie pozostał żaden z dotychczasowych muzyków, z wyjątkiem perkusisty i lidera Daniela Denisa oraz wracającego po przerwie Christiana Geneta. Nowi instrumentaliści wykazali się jednak doskonałym zrozumieniem specyficznej twórczości belgijskiego zespołu, który zachował swoją rozpoznawalność. Nie da się jednak ukryć, że "Uzed" to album wyjątkowo łatwy w odbiorze... Oczywiście, jak na Univers Zero. To wciąż muzyka silnie inspirowana XX-wieczną poważką, a szczególnie dokonaniami Igora Strawinskiego i Beli Bartoka, oparta w dużym stopniu na brzmieniach akustycznych, aczkolwiek wspartych mocną grą sekcji rytmicznej, dodającej rockową dynamikę. Tym razem jednak utwory wydają się jakby trochę mniej skomplikowane - wciąż jednak bardziej złożone i abstrakcyjne od zdecydowanej większości muzyki rockowej - a na pewno wyraźniej zaznaczona jest tu warstwa melodyczna. Niewiele tu też posępnego klimatu, który charakteryzował wcześniejsze płyty, szczególnie zaś budzący autentyczną grozę "Heresie".

Zmieniło się też trochę instrumentarium. Na dwóch pierwszych płytach było słychać dużo fisharmonii, organów i akustycznego pianina, na "Ceux Du Dehors" doszedł jeszcze melotron i syntezatory. Tutaj brzmienia klawiszowe ograniczają się wyłącznie do akustycznego i elektrycznego pianina oraz syntezatorów. Ponadto saksofony i klarnety zajęły miejsce fagotu i oboju, a altówka oraz (z wyjątkiem jednego utworu) skrzypce zostały zastąpione przez wiolonczelę. Trzeba jeszcze wspomnieć o większym niż kiedykolwiek wcześniej zastosowaniu elektrycznej gitary. Po raz pierwszy, choć jeszcze w dość zachowawczy sposób, pojawiają się też eksperymenty z taśmami. To wszystko ogromnie wpływa na brzmienie. Pewną nowością są także pobrzmiewające tu i ówdzie melodie typowe dla Środkowego Wchodu. Świetnie słychać to już na przykładzie rozpoczynającego longplay "Présage". Zresztą sam początek tego nagrania zaskakuje swoją delikatnością i prostotą, dopiero po kilkudziesięciu sekundach zaczyna się typowe dla Univers Zero kombinowanie, choć w zaskakująco melodyjnym wydaniu. I wcale nie pozbawia to tej muzyki walorów artystycznych, lecz wzbogaca ją o nową jakość. Zbliżony kierunek muzycy obrali w większości utworów, przede wszystkim w "Parade" i najdłuższym na płycie "Émanations", a jeszcze dalej od swoich korzeni odeszli w "Célesta (for Chantal)". Najbardziej zakręcony i najbliższy wcześniejszych dokonań jest natomiast najkrótszy w zestawie "L'Étrange Mixture Du Docteur Schwartz".

Univers Zero zaproponował na "Uzed" coś zdecydowanie odmiennego od wcześniejszych dokonań, a jednocześnie bardzo dobrze z nimi korespondującego. Daniel Denis z nowymi muzykami nie zaczął nagle grać zupełnie inaczej, a raczej rozwinął wcześniejszą koncepcję w innym kierunku, wprowadzając różne zmiany, ale to niewątpliwie wciąż Univers Zero. Dla słuchaczy, którzy dopiero zaczynają interesować się bardziej awangardowymi odmianami rocka progresywnego, "Uzed" to zdecydowanie lepszy wybór od "Heresie". Choć to jeszcze nie najłatwiejszy w odbiorze album grupy.

Paweł Pałasz


Totally Remastered Version

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.
The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this
evolution can also be explained by the arrival of new musicians.
UZED'is entirely composed and arranged by Daniel Denis. The recording and mixing were done at Daylight Studio in Brussels
in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.



UZ's fourth studio album (fifth release after the short compilation Crawling Winds) is the cornerstone of UZ's career. Up to now, UZ's music had been mostly acoustic RIO, developing sinister moods and searching for human's darker instincts. But with this fourth album, Denis was to change considerably UZ's direction and this was due in no small part to the friendly competition he maintained with ex-UZ Roger Trigaux, who had formed Present (with Denis holding the drum stool), and pushing each other to explore new musical territories. By now, Daniel Denis was the last remaining original member, Berckmans devoting his effort to Von Zamla. In comes future long time collab Dirk Descheemaeker on winds, Genet on bass and assorted string instruments, Plouvier (another future central figure) on keyboards and Mergen on cello and sax.
This album, as I said above, is the start of a new direction and can be easily seen as a blueprint for all their future album until Implosion. The music had now shifted from the sinister and macabre to the sombre and mysterious ambiances, the eastern influences being much more present (pardon the pun ;-), than previously. One of the most striking results is that the album is generally more melodious than the previous three, which often flirted with dissonance and atonal music. Here, the music has mystic and grandiose aspects not previously developed. The opener Présage is probably my favourite track as the mystery of the mid-eastern dawns (with the cello strongly inducing Arab ambiances) in a yet-asleep harem (see why I think this is their best track? ;-) and the first smell ogf Green tea as you are heading for the hamam with three beautiful creatures, and the clarinet providing the drama: this almost 10-min track is flawless. The manic Doctor Schwartz is a 100 mph nightmare with Plouvier's piano providing the base for a haunting cello and clarinet. Wrapping up the first side of this wax slice, is Celeste (with two guest-musicians), a slow-developing almost 7-min track where the piano has the dominant role until the monstrous entrance of the "beast and Delory's electric guitar (sometimes reminding you of Pinhas or Fripp) is clearly its angry scream. The only flaw I can think of is that the track ends in a fade-out.

Parade is probably where Miriodor took a good deal of their inspiration and the mad breaking noise are extremely disturbing, but the insane beat is not letting you off the hook. Centrepiece Emmanations is one stunning and most convincing track, where Univers Zero is simply taking on the role of a progressive giant group, but if it is not known widely among the progheads, it is mostly because this album was recorded in 84. Had it been recorded a decade earlier, no doubt that this album would be standing with Magma's 1001° Centigrade or Henry Cow's Legend. Denis's composing powers are simply impressive and his percussions are awesomely inventive, and the oppressive but enthralling ambiances make the almost 16-min track seem too short. In the closing section, the track diverges into electronic delirium, which some twenty years later, Denis will come back to and base his Implosion album around similar themes.

Clearly the album separating the two phases of UZ, this album will serve as a template for UZ albums for two decades to come (including Denis's two solo albums). Absolutely essential music, one if not the best album in its genre.

Sean Trane


Having started from the beginning with UNIVERS ZERO, the first thing I noticed when listening to this album was how different it sounded from the earlier ones. For me this is their first 5 star album and my second favourite from them after the next one "Heatwave". This one is more electric than the earlier ones and they have traded the harmonium, bassoon, aboe and english horn for the sax, clarinet and synths. I liked the way Sean Trane described the difference, it's like going from the macabre and sinister to the mysterious and sombre. Yes this still has lots of dark passages, but there is actually moments that feel like dusk, as opposed to being always in the night. The cello is used in place of the violin as well, although there is some guest violin and guitar on one track.
"Presage" is my favourite song on here. It opens with some beautiful piano before kicking in before a minute with drums and bass. This contrast continues. The cello before 3 minutes is nice as drums and bass pound away. A scorching cello melody as piano comes back reminding me of the intro. "L'Etrange Mixture Du Docteur Schwartz" features a lot of tempo changes. It slows right down 3 minutes in as piano and cello end it. "Celesta (For Chantal)" is a dark and slow moving song with piano and some guest violin leading the way. Heavy drums after 5 minutes as the guest guitar grinds away. Nice. Synths as well on this one.

"Parade" is lighter and more uptempo. A terrific collage of various sounds including horns, synths, piano, drums and cello as the tempo and mood continues to shift. "Emmanations" is by far the longest track at over 15 minutes. It rivals the first song as my favourite. It opens with lots of atmosphere that is tense and eerie. It starts to brighten a little before 2 minutes. The pace is stepped up a notch 4 minutes in as bass and drums deliver the goods. It becomes dark and ominous 5 1/2 minutes in as the climate continues to change. I like the section after 10 minutes. After 14 minutes we get some spooky and dark sounds to end it.

A nice change for the band, and they will continue on this path for their next record "Heatwave".

Mellotron Storm



..::TRACK-LIST::..

1. Présage 9:48
2. L'Etrange Mixture Du Docteur Schwartz 3:52
3. Célesta (For Chantal) 6:55
Guitar - Michel Delory
Violin - Marc Verbist

4. Parade 6:37
5. Émanations 15:43

Bonus Track:
6. Triomphe Des Mouches 9:51

Track 6 recorded live on March 31st at 'The Pavillon' in Hanover, Germany.



..::OBSADA::..

Daniel Denis - drums, percussion, synthesizer
Dirk Descheemaeker - soprano sax, clarinet, bass clarinet
Christian Genet - bass guitar, balafon, bowed guitar, tapes, whistle
André Mergen - cello, alto sax, voice
Jean-Luc Plouvier - electric and acoustic pianos, synthesizers, piano string, percussion

with:
Michael Delory - electric guitar [on 'Célesta (For Chantal)']
Mark Verbist - violin [on 'Célesta (For Chantal)']




https://www.youtube.com/watch?v=8fJNCT4vBrY



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

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


..::OPIS::..

Trzyletnia przerwa, dzieląca "Uzed" od poprzedniego w dyskografii Univers Zero albumu "Ceux Du Dehors", przyniosła wiele zmian. Przede wszystkim w składzie nie pozostał żaden z dotychczasowych muzyków, z wyjątkiem perkusisty i lidera Daniela Denisa oraz wracającego po przerwie Christiana Geneta. Nowi instrumentaliści wykazali się jednak doskonałym zrozumieniem specyficznej twórczości belgijskiego zespołu, który zachował swoją rozpoznawalność. Nie da się jednak ukryć, że "Uzed" to album wyjątkowo łatwy w odbiorze... Oczywiście, jak na Univers Zero. To wciąż muzyka silnie inspirowana XX-wieczną poważką, a szczególnie dokonaniami Igora Strawinskiego i Beli Bartoka, oparta w dużym stopniu na brzmieniach akustycznych, aczkolwiek wspartych mocną grą sekcji rytmicznej, dodającej rockową dynamikę. Tym razem jednak utwory wydają się jakby trochę mniej skomplikowane - wciąż jednak bardziej złożone i abstrakcyjne od zdecydowanej większości muzyki rockowej - a na pewno wyraźniej zaznaczona jest tu warstwa melodyczna. Niewiele tu też posępnego klimatu, który charakteryzował wcześniejsze płyty, szczególnie zaś budzący autentyczną grozę "Heresie".

Zmieniło się też trochę instrumentarium. Na dwóch pierwszych płytach było słychać dużo fisharmonii, organów i akustycznego pianina, na "Ceux Du Dehors" doszedł jeszcze melotron i syntezatory. Tutaj brzmienia klawiszowe ograniczają się wyłącznie do akustycznego i elektrycznego pianina oraz syntezatorów. Ponadto saksofony i klarnety zajęły miejsce fagotu i oboju, a altówka oraz (z wyjątkiem jednego utworu) skrzypce zostały zastąpione przez wiolonczelę. Trzeba jeszcze wspomnieć o większym niż kiedykolwiek wcześniej zastosowaniu elektrycznej gitary. Po raz pierwszy, choć jeszcze w dość zachowawczy sposób, pojawiają się też eksperymenty z taśmami. To wszystko ogromnie wpływa na brzmienie. Pewną nowością są także pobrzmiewające tu i ówdzie melodie typowe dla Środkowego Wchodu. Świetnie słychać to już na przykładzie rozpoczynającego longplay "Présage". Zresztą sam początek tego nagrania zaskakuje swoją delikatnością i prostotą, dopiero po kilkudziesięciu sekundach zaczyna się typowe dla Univers Zero kombinowanie, choć w zaskakująco melodyjnym wydaniu. I wcale nie pozbawia to tej muzyki walorów artystycznych, lecz wzbogaca ją o nową jakość. Zbliżony kierunek muzycy obrali w większości utworów, przede wszystkim w "Parade" i najdłuższym na płycie "Émanations", a jeszcze dalej od swoich korzeni odeszli w "Célesta (for Chantal)". Najbardziej zakręcony i najbliższy wcześniejszych dokonań jest natomiast najkrótszy w zestawie "L'Étrange Mixture Du Docteur Schwartz".

Univers Zero zaproponował na "Uzed" coś zdecydowanie odmiennego od wcześniejszych dokonań, a jednocześnie bardzo dobrze z nimi korespondującego. Daniel Denis z nowymi muzykami nie zaczął nagle grać zupełnie inaczej, a raczej rozwinął wcześniejszą koncepcję w innym kierunku, wprowadzając różne zmiany, ale to niewątpliwie wciąż Univers Zero. Dla słuchaczy, którzy dopiero zaczynają interesować się bardziej awangardowymi odmianami rocka progresywnego, "Uzed" to zdecydowanie lepszy wybór od "Heresie". Choć to jeszcze nie najłatwiejszy w odbiorze album grupy.

Paweł Pałasz


Totally Remastered Version

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.
The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this
evolution can also be explained by the arrival of new musicians.
UZED'is entirely composed and arranged by Daniel Denis. The recording and mixing were done at Daylight Studio in Brussels
in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.



UZ's fourth studio album (fifth release after the short compilation Crawling Winds) is the cornerstone of UZ's career. Up to now, UZ's music had been mostly acoustic RIO, developing sinister moods and searching for human's darker instincts. But with this fourth album, Denis was to change considerably UZ's direction and this was due in no small part to the friendly competition he maintained with ex-UZ Roger Trigaux, who had formed Present (with Denis holding the drum stool), and pushing each other to explore new musical territories. By now, Daniel Denis was the last remaining original member, Berckmans devoting his effort to Von Zamla. In comes future long time collab Dirk Descheemaeker on winds, Genet on bass and assorted string instruments, Plouvier (another future central figure) on keyboards and Mergen on cello and sax.
This album, as I said above, is the start of a new direction and can be easily seen as a blueprint for all their future album until Implosion. The music had now shifted from the sinister and macabre to the sombre and mysterious ambiances, the eastern influences being much more present (pardon the pun ;-), than previously. One of the most striking results is that the album is generally more melodious than the previous three, which often flirted with dissonance and atonal music. Here, the music has mystic and grandiose aspects not previously developed. The opener Présage is probably my favourite track as the mystery of the mid-eastern dawns (with the cello strongly inducing Arab ambiances) in a yet-asleep harem (see why I think this is their best track? ;-) and the first smell ogf Green tea as you are heading for the hamam with three beautiful creatures, and the clarinet providing the drama: this almost 10-min track is flawless. The manic Doctor Schwartz is a 100 mph nightmare with Plouvier's piano providing the base for a haunting cello and clarinet. Wrapping up the first side of this wax slice, is Celeste (with two guest-musicians), a slow-developing almost 7-min track where the piano has the dominant role until the monstrous entrance of the "beast and Delory's electric guitar (sometimes reminding you of Pinhas or Fripp) is clearly its angry scream. The only flaw I can think of is that the track ends in a fade-out.

Parade is probably where Miriodor took a good deal of their inspiration and the mad breaking noise are extremely disturbing, but the insane beat is not letting you off the hook. Centrepiece Emmanations is one stunning and most convincing track, where Univers Zero is simply taking on the role of a progressive giant group, but if it is not known widely among the progheads, it is mostly because this album was recorded in 84. Had it been recorded a decade earlier, no doubt that this album would be standing with Magma's 1001° Centigrade or Henry Cow's Legend. Denis's composing powers are simply impressive and his percussions are awesomely inventive, and the oppressive but enthralling ambiances make the almost 16-min track seem too short. In the closing section, the track diverges into electronic delirium, which some twenty years later, Denis will come back to and base his Implosion album around similar themes.

Clearly the album separating the two phases of UZ, this album will serve as a template for UZ albums for two decades to come (including Denis's two solo albums). Absolutely essential music, one if not the best album in its genre.

Sean Trane


Having started from the beginning with UNIVERS ZERO, the first thing I noticed when listening to this album was how different it sounded from the earlier ones. For me this is their first 5 star album and my second favourite from them after the next one "Heatwave". This one is more electric than the earlier ones and they have traded the harmonium, bassoon, aboe and english horn for the sax, clarinet and synths. I liked the way Sean Trane described the difference, it's like going from the macabre and sinister to the mysterious and sombre. Yes this still has lots of dark passages, but there is actually moments that feel like dusk, as opposed to being always in the night. The cello is used in place of the violin as well, although there is some guest violin and guitar on one track.
"Presage" is my favourite song on here. It opens with some beautiful piano before kicking in before a minute with drums and bass. This contrast continues. The cello before 3 minutes is nice as drums and bass pound away. A scorching cello melody as piano comes back reminding me of the intro. "L'Etrange Mixture Du Docteur Schwartz" features a lot of tempo changes. It slows right down 3 minutes in as piano and cello end it. "Celesta (For Chantal)" is a dark and slow moving song with piano and some guest violin leading the way. Heavy drums after 5 minutes as the guest guitar grinds away. Nice. Synths as well on this one.

"Parade" is lighter and more uptempo. A terrific collage of various sounds including horns, synths, piano, drums and cello as the tempo and mood continues to shift. "Emmanations" is by far the longest track at over 15 minutes. It rivals the first song as my favourite. It opens with lots of atmosphere that is tense and eerie. It starts to brighten a little before 2 minutes. The pace is stepped up a notch 4 minutes in as bass and drums deliver the goods. It becomes dark and ominous 5 1/2 minutes in as the climate continues to change. I like the section after 10 minutes. After 14 minutes we get some spooky and dark sounds to end it.

A nice change for the band, and they will continue on this path for their next record "Heatwave".

Mellotron Storm



..::TRACK-LIST::..

1. Présage 9:48
2. L'Etrange Mixture Du Docteur Schwartz 3:52
3. Célesta (For Chantal) 6:55
Guitar - Michel Delory
Violin - Marc Verbist

4. Parade 6:37
5. Émanations 15:43

Bonus Track:
6. Triomphe Des Mouches 9:51

Track 6 recorded live on March 31st at 'The Pavillon' in Hanover, Germany.



..::OBSADA::..

Daniel Denis - drums, percussion, synthesizer
Dirk Descheemaeker - soprano sax, clarinet, bass clarinet
Christian Genet - bass guitar, balafon, bowed guitar, tapes, whistle
André Mergen - cello, alto sax, voice
Jean-Luc Plouvier - electric and acoustic pianos, synthesizers, piano string, percussion

with:
Michael Delory - electric guitar [on 'Célesta (For Chantal)']
Mark Verbist - violin [on 'Célesta (For Chantal)']




https://www.youtube.com/watch?v=8fJNCT4vBrY



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

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


..::OPIS::..

Maruta powraca z drugim albumem, przenosząc grindcore na wyższy poziom. 'Forward into Regression' zawiera 16 utworów głęboko zakorzenionej mizantropii, uzbrojonych po zęby w nadmiar chirurgicznie precyzyjnych riffów, nieustępliwą prędkość i gwałtowny dysonans. Równie emocjonalny, co szorstki, to pozycja obowiązkowa dla KAŻDEGO miłośnika muzyki ekstremalnej.



The saying goes
"the good ones always leave too soon".

When it comes to the world of music usually the reverse is applicable. Most times bands hang on way too long after their supposed peak and tend to try doing everything they can to sound modern or artistic and thereby leavi9ng whatever made them special in the wake. For either better or worse Maruta has managed to fit the quote provided earlier to a T. As they had announced last year after releasing 2 relentless full lengths and a mere demo.

Well to put it simply the band has managed to evolve. Their first LP In Narcosis played their death grind cards close to the chest. The band showed signs of being well above their peers but only a few rare glimpses really stood head and shoulders above the rest. The record we are covering here puts nearly all of their death grind peers into another lane and speeds off leaving anyone close well in the dust. While most bands of the style are willing to play fast and have the most brutal vocals and or topics Maruta doesn't solely insist on playing fast but rather, playing smart.

By the time you're half way through the record you as the listener have invested just over 16 minutes, which by grind standards is almost enough to call a full length in itself. Throughout this record the band build strong structures that don't insist of solely grinding your head in. The band remains insistently brutal without ever getting bogged into the speed game. There are topshelf straight out grinders of course such as "Plague Domain' and "Drowned In Black Matter" these songs last less than a minute and almost act as palate cleansers for the more detailed tracks that follow.

Overall Maruta has managed to go out on a very high note. The band, while gone, has most certainly left their stamp on the genre. As a result of this, I would find it hard to find any reason not to recommend this album to anyone searching for something brutal and smart.

Jon E.


Miami, Florida houses these Grindcore labelled practitioners, and it’s straight into business with their ‘March Forward’ intro. Immediately you are hit with the usual power and energy associated with this music. Managing to incorporate some tech-death influences along the way with disjointed, out of place chord structures thrown in for good measure. Maruta happily scream and anger themselves through the short burst of musical expressions that remain. I must admit, the first track did nothing much in the way of gaining love for this band; ‘Strain’ marginally improves things and you will find more of the usual pinch harmonics associated in modern extreme music. This is the problem; I don’t find that much to get excited about, they are hardly touching on the classic grind sound of old, I would go as far as to say that the modern extreme technical death fan will find more favour with this release, there is just too much technical groove for a grind release.

The “longer” tracks tend to get things progressing on this album, but I am still not convinced, although, ‘Swine Swallower’ has better moments, there are essentially a lot of everyone’s extreme musical influences congealing into one draw out musical car crash. Therein lies my issue, there is something out of the ordinary with this album, it features ripping guitar shreds, but I feel it is let down with the modern tech-death and screaming vocal approach. ‘Solace through Self Annihilation’ restores the grind and improves one’s receptors, the vocals are a little bit more subtle, still the dynamic chaos remains as with much of the guitar work so you won’t get away from that little bug-bear for long! Maruta have flashes of madness on this second release, but I conclude that maybe it is a little too far out of the box for this writer and not as cohesive as it could have been.

twansibon


This embodies everything that is wrong with the "grindcore" scene today. The term grindcore must be used loosely here because this is the multitude of noisy bits strewn together without reason that Relapse Records has been trying to force down on everybody since the 2000s that span a multitude of genres but don't come together as one to say anything worthwhile. Maruta claims to be "too grind for the death metal kids, and too death metal for the grind kids", but that couldn't be further from the truth. This whole ordeal sounds like Napalm Death's mid 90s experimental garbage raped deliverance style by metalcore styled fake aggression.

Typical of the "genre", the lyrics are of the P.C. slacktivist variety. They aren't "down" with metal's "inability to deal with reality" so mask a bunch mundane topics about "conformity" and "society" in crappy pseudo poetry. This is a complaint that could be levied at any one of these 2000s faux-grind bands, though, but enough is enough. All the lyrics on this album are interchangeable with Nasum, Rotten Sound, Gadget or any other Y2K grind album: "clever" wordplay that tries to turn mundane topics into a complex "your life depends on this" thing. They want to fit in with being the outlaws of metal by adopting a hardcore/punk image to cater to the Aus Rotten fan demographic, so they write these stupid "social concerns" lyrics yet adopt a "nu" hip-hop derived fashion sense (fitted hats aren't metal) which suggests they are more concerned with how they're perceived by society than changing it, and this filters down into the afterthought that is their music.

If someone told me this album was the byproduct of a focus group effort by Relapse Records, I would believe them. You get the "weird" Sounds of the Animal Kingdom era Brutal Truth wonky guitar parts and strange chords, but then you get the chugga chugga nonsense of the modern 7 string metalcore garbage. They make attempts at "legitimacy" by incorporating d-beat parts or obviously hardcore/punk derived parts and then make them "strange" by randomly dropping divebombs, harmonics or any other ornamentation they can to let you know how they're "different". All the song structures are completely illogical, going from part to part and saying nothing in the process, sounding like a project put together from stringing together their favorite parts from jam tapes into what sound like songs, but are really just a collection of incongruous parts. This is what happens when someone has nothing to offer musically, so dresses up generic mediocre Y2K "grind" in unorthodox sounds like divebombs for the sake of being "different" or "unique". The vocals alternate between grating screams and a parody of Inhale/Exhale era Nasum growls. It really boils down to being fake "grind", sounding more and more like a Converge album played at double speed with unnecessary ornamentation and lots of blast beats than anything that's death or grind derived, using annoying math rock noodling in the middle of stock standard riff forms played under blasting and annoying metalcore styled grooves at every other part.

It's no surprise bands like this always pop up. As scenes get codified, there is going to be the easy formula that average people without creativity can use as a template to make something for the sake of "passing the time". It's no surprise these guys chose the "keeping it real" hardcore/punk ethic over any metal one, since this is the worst kind of music made for social acceptance (scene points): underground music styles thrown around without any other purpose than to be "loud" and "in your face", but having a "deep" message in there for giving the impression that there is a purpose to all this. Really, like ska, this is unnecessary "social" music dressed up as something "loud" and wrapped up in a package to suggest they have something important to say for the people who are "into those socially relevant lyrics man", but as the hip-hop derived wigger image and product nature of this music suggests, it's nothing more than crappy noise by drunk people with nothing better to do. This will be forgotten in the sea of swede-grind ripoffs and Dis-band permutations that have arose in the 2000s who did nothing but play a bunch of meaningless drivel that thinks it's doing something new by adding mathrock derived ornaments to From Enslavement to Obliteration riffs thrown in random metalcore songs with blast beats. Annoying. Avoid this band.

bitterman



..::TRACK-LIST::..

1. March Forward (Into Regression) 01:48
2. Strain 02:03
3. Plague Domain 00:57
4. Stagnation Routine 01:45
5. Devoid of Allegiance 01:13
6. Drown in Black Matter 00:39
7. Body Weapon 00:49
8. Swine Swallower 02:27
9. Conform to Deform 02:33
10. Etched in Granite 01:50
11. Salient 02:04
12. Solace Through Self Annihilation 01:37
13. Hand of the Overseer 02:13
14. Failure King 03:15
15. Gaiares 00:49
16. Blood of the Luddite 03:03



..::OBSADA::..

Vocals - Mitchell Luna
Bass - Mauro Cordoba
Drums - Daniel Morris
Guitar - Eduardo Borja




https://www.youtube.com/watch?v=FAOV8xd6MEs



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

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


..::OPIS::..

Maruta powraca z drugim albumem, przenosząc grindcore na wyższy poziom. 'Forward into Regression' zawiera 16 utworów głęboko zakorzenionej mizantropii, uzbrojonych po zęby w nadmiar chirurgicznie precyzyjnych riffów, nieustępliwą prędkość i gwałtowny dysonans. Równie emocjonalny, co szorstki, to pozycja obowiązkowa dla KAŻDEGO miłośnika muzyki ekstremalnej.



The saying goes
"the good ones always leave too soon".

When it comes to the world of music usually the reverse is applicable. Most times bands hang on way too long after their supposed peak and tend to try doing everything they can to sound modern or artistic and thereby leavi9ng whatever made them special in the wake. For either better or worse Maruta has managed to fit the quote provided earlier to a T. As they had announced last year after releasing 2 relentless full lengths and a mere demo.

Well to put it simply the band has managed to evolve. Their first LP In Narcosis played their death grind cards close to the chest. The band showed signs of being well above their peers but only a few rare glimpses really stood head and shoulders above the rest. The record we are covering here puts nearly all of their death grind peers into another lane and speeds off leaving anyone close well in the dust. While most bands of the style are willing to play fast and have the most brutal vocals and or topics Maruta doesn't solely insist on playing fast but rather, playing smart.

By the time you're half way through the record you as the listener have invested just over 16 minutes, which by grind standards is almost enough to call a full length in itself. Throughout this record the band build strong structures that don't insist of solely grinding your head in. The band remains insistently brutal without ever getting bogged into the speed game. There are topshelf straight out grinders of course such as "Plague Domain' and "Drowned In Black Matter" these songs last less than a minute and almost act as palate cleansers for the more detailed tracks that follow.

Overall Maruta has managed to go out on a very high note. The band, while gone, has most certainly left their stamp on the genre. As a result of this, I would find it hard to find any reason not to recommend this album to anyone searching for something brutal and smart.

Jon E.


Miami, Florida houses these Grindcore labelled practitioners, and it’s straight into business with their ‘March Forward’ intro. Immediately you are hit with the usual power and energy associated with this music. Managing to incorporate some tech-death influences along the way with disjointed, out of place chord structures thrown in for good measure. Maruta happily scream and anger themselves through the short burst of musical expressions that remain. I must admit, the first track did nothing much in the way of gaining love for this band; ‘Strain’ marginally improves things and you will find more of the usual pinch harmonics associated in modern extreme music. This is the problem; I don’t find that much to get excited about, they are hardly touching on the classic grind sound of old, I would go as far as to say that the modern extreme technical death fan will find more favour with this release, there is just too much technical groove for a grind release.

The “longer” tracks tend to get things progressing on this album, but I am still not convinced, although, ‘Swine Swallower’ has better moments, there are essentially a lot of everyone’s extreme musical influences congealing into one draw out musical car crash. Therein lies my issue, there is something out of the ordinary with this album, it features ripping guitar shreds, but I feel it is let down with the modern tech-death and screaming vocal approach. ‘Solace through Self Annihilation’ restores the grind and improves one’s receptors, the vocals are a little bit more subtle, still the dynamic chaos remains as with much of the guitar work so you won’t get away from that little bug-bear for long! Maruta have flashes of madness on this second release, but I conclude that maybe it is a little too far out of the box for this writer and not as cohesive as it could have been.

twansibon


This embodies everything that is wrong with the "grindcore" scene today. The term grindcore must be used loosely here because this is the multitude of noisy bits strewn together without reason that Relapse Records has been trying to force down on everybody since the 2000s that span a multitude of genres but don't come together as one to say anything worthwhile. Maruta claims to be "too grind for the death metal kids, and too death metal for the grind kids", but that couldn't be further from the truth. This whole ordeal sounds like Napalm Death's mid 90s experimental garbage raped deliverance style by metalcore styled fake aggression.

Typical of the "genre", the lyrics are of the P.C. slacktivist variety. They aren't "down" with metal's "inability to deal with reality" so mask a bunch mundane topics about "conformity" and "society" in crappy pseudo poetry. This is a complaint that could be levied at any one of these 2000s faux-grind bands, though, but enough is enough. All the lyrics on this album are interchangeable with Nasum, Rotten Sound, Gadget or any other Y2K grind album: "clever" wordplay that tries to turn mundane topics into a complex "your life depends on this" thing. They want to fit in with being the outlaws of metal by adopting a hardcore/punk image to cater to the Aus Rotten fan demographic, so they write these stupid "social concerns" lyrics yet adopt a "nu" hip-hop derived fashion sense (fitted hats aren't metal) which suggests they are more concerned with how they're perceived by society than changing it, and this filters down into the afterthought that is their music.

If someone told me this album was the byproduct of a focus group effort by Relapse Records, I would believe them. You get the "weird" Sounds of the Animal Kingdom era Brutal Truth wonky guitar parts and strange chords, but then you get the chugga chugga nonsense of the modern 7 string metalcore garbage. They make attempts at "legitimacy" by incorporating d-beat parts or obviously hardcore/punk derived parts and then make them "strange" by randomly dropping divebombs, harmonics or any other ornamentation they can to let you know how they're "different". All the song structures are completely illogical, going from part to part and saying nothing in the process, sounding like a project put together from stringing together their favorite parts from jam tapes into what sound like songs, but are really just a collection of incongruous parts. This is what happens when someone has nothing to offer musically, so dresses up generic mediocre Y2K "grind" in unorthodox sounds like divebombs for the sake of being "different" or "unique". The vocals alternate between grating screams and a parody of Inhale/Exhale era Nasum growls. It really boils down to being fake "grind", sounding more and more like a Converge album played at double speed with unnecessary ornamentation and lots of blast beats than anything that's death or grind derived, using annoying math rock noodling in the middle of stock standard riff forms played under blasting and annoying metalcore styled grooves at every other part.

It's no surprise bands like this always pop up. As scenes get codified, there is going to be the easy formula that average people without creativity can use as a template to make something for the sake of "passing the time". It's no surprise these guys chose the "keeping it real" hardcore/punk ethic over any metal one, since this is the worst kind of music made for social acceptance (scene points): underground music styles thrown around without any other purpose than to be "loud" and "in your face", but having a "deep" message in there for giving the impression that there is a purpose to all this. Really, like ska, this is unnecessary "social" music dressed up as something "loud" and wrapped up in a package to suggest they have something important to say for the people who are "into those socially relevant lyrics man", but as the hip-hop derived wigger image and product nature of this music suggests, it's nothing more than crappy noise by drunk people with nothing better to do. This will be forgotten in the sea of swede-grind ripoffs and Dis-band permutations that have arose in the 2000s who did nothing but play a bunch of meaningless drivel that thinks it's doing something new by adding mathrock derived ornaments to From Enslavement to Obliteration riffs thrown in random metalcore songs with blast beats. Annoying. Avoid this band.

bitterman



..::TRACK-LIST::..

1. March Forward (Into Regression) 01:48
2. Strain 02:03
3. Plague Domain 00:57
4. Stagnation Routine 01:45
5. Devoid of Allegiance 01:13
6. Drown in Black Matter 00:39
7. Body Weapon 00:49
8. Swine Swallower 02:27
9. Conform to Deform 02:33
10. Etched in Granite 01:50
11. Salient 02:04
12. Solace Through Self Annihilation 01:37
13. Hand of the Overseer 02:13
14. Failure King 03:15
15. Gaiares 00:49
16. Blood of the Luddite 03:03



..::OBSADA::..

Vocals - Mitchell Luna
Bass - Mauro Cordoba
Drums - Daniel Morris
Guitar - Eduardo Borja




https://www.youtube.com/watch?v=FAOV8xd6MEs



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

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


..::OPIS::..

Świetny album (WYDANY W 1970 ROKU W ZMIENIONEJ, AMERYKAŃSKIEJ OKŁADCE ZNANEJ ZE STAREGO WINYLU WYTWÓRNI MERCURY) nagrany przy udziale muzyków Eyes Of Blue (potem Big Sleep).
Dużo mocnych, gitarowych riffów; ciężkie, intensywne brzmienie - chociaż nie brak na płycie spokojniejszych, balladowych fragmentów. W kilku nagraniach gościnnie zaśpiewał Gary Pickford-Hopkins (znany potem z Wild Turkey).

JL


Walijska scena muzyczna na przełomie lat 60-tych i 70-tych miała niesamowitą liczbę zespołów i wykonawców cieszących się w epoce dużą popularnością, które z czasem zostały zapomniane i to na wieki. Konia z rzędem temu kto dziś kojarzy sobie nazwy takie jak The Vikings, The Blackjacks, The Mustangs, Corncrackers, The King Bees, Brothers Grimm, The Smokestacks, czy Strawberry Dust… Bardziej pamiętamy Love Sculpture Dave’a Edmundsa, Amen Corner z Andy Fairweather- Low’em w składzie, świetny Man i oczywiście kultowe trio Budgie.

W drugiej połowie lat 60-tych w Cardiff zawiązała się grupa Eyes Of Blue. Z typowo popowego zespołu wkrótce przechrzciła się na psychodelię, a na dodatek zwrócił na nią uwagę Graham Bond stając się niejako ich mentorem. Wydane dwie duże płyty w 1968 i 1969 roku („Crossroads Of Time” i „In Fields Of Ardath”) okazały się jednymi z najwybitniejszych, powstałych pomiędzy schyłkiem psychodelii, a narodzinami rocka progresywnego. Perkusista Eyes Of Blue, John Weathers, któregoś dnia natknął się w jednym z lokalnych klubów na grupę o nazwie Strawberry Dust grającą covery. W czterech chłopakach dostrzegł niezwykły potencjał i talent. Kilka miesięcy później Eyes Of Blue zaproponowali kwartetowi wspólne koncerty, oraz pomogli w nagraniu demo. Udali się w tym celu do Monmouth, gdzie w starej stodole, która nosiła dumną nazwę Rockfield Studios, zarejestrowali kilka utworów. Zainteresowali nimi słynnego producenta muzycznego z Mercury Records, Lou Reiznera. Tego samego, który zrealizował m.in. dwa pierwsze albumy Roda Stewarta, pracował z Rickiem Wakemanem, zorkiestrował rock operę „Tommy” The Who, odkrył i podpisał kontrakt z Van Der Graaf Generation, wymyślił nazwę dla greckiego zespołu Aphrodite’s Child z Vangelisem i Demisem Roussosem w składzie… Listę jego zasług dla muzycznego świata można by ciągnąć długo. Lou Reizner długo się nie zastanawiał. Wstępnie podpisał z zespołem roczny kontrakt, po czym niemal natychmiast przystąpił do nagrywania materiału na dużą płytę. Prace w Morgan Studios w Willesden trwały przez tydzień od północy do szóstej rano. „Mogę się pochwalić, że z dziesięciu nagrań aż cztery kompozycje umieszczone na płycie są mojego autorstwa, które podarowałem zespołowi.” – wspomina Weathers i dodaje: „Wszyscy byli podekscytowani i szło im naprawdę doskonale. A przecież była to tak naprawdę ich pierwsza w życiu profesjonalna sesja!”

Album zatytułowany „Women And Children First” ukazał się w lipcu 1970 roku. Tyle tylko, że firmowała go nie grupa Strawberry Dust a zespół o nazwie… ANCIENT GREASE. Okazało się, że szalony Lou Reizner zrobił „psikusa” – bez zgody zespołu samowolnie zmienił im nazwę!

Muzycy wściekli się niemiłosiernie. Doszło do wielkiej awantury i kłótni. „Ancient Grease. Cóż za idiotyczna nazwa!” – grzmiał wokalista Graham „Morty” Mortimer. Na co Lou ze stoickim i flegmatycznym spokojem tłumaczył: „Sorry chłopcy. Miało być Ancient Greece (ang. Starożytna Grecja), ale chyba zrobiłem błąd w pisowni…” ( ancient greese w wolnym tłumaczeniu: staroświeckie mazidło). Nic już nie można było poradzić. Płyta trafiła do sklepów.

Album „Women And Children First” trwający 50 minut w przeważającej mierze zawierał bardzo dynamiczny materiał oparty na mocnych, gitarowych, niemal sabbathowskich, riffach. Ciężkie, intensywne brzmienie o bluesowym zabarwieniu czasem okraszone jest partią harmonijki i organów – chociaż nie brak na płycie także spokojniejszych, balladowych momentów. Ten album to takie „dziecko swojego czasu” – mocna mieszanka pub rocka, ciężko kołyszącego rhythm and bluesa i bluesa. Ale także psychodelii rodem z San Francisco i brytyjskiego prog rocka, któremu po drodze z hard rockiem.

Zaczyna się od ciężkiego , miarowego „Freedom Train” z wyeksponowaną do przodu gitarą Grahama Williamsa. Muzyk daje też powody do radości w „Don’t Want”. To najwyższa próbka kapitalnego gitarowego czadu. Lirycznie robi się na początku w „Odd Song” za sprawą klawiszy Phila Ryana, ale potem utwór nabiera tempa i mocy. W sumie taka niby ballada, ale pełna zróżnicowanych nastrojów. Klawiszowca uwielbiam za swą świetnie zagraną partię w „Where The Snow Lies Forever”. Równie pełen zmiennych klimatów i nastrojów jest „Eagle Song”. Dynamicznie i bardzo niespokojnie mamy w blues rockowym „Prelude To A Blind Man”. Z kolei tytułowy, zagęszczony i pełen improwizacji, blisko siedmiominutowy „Women And Children First” chwilami przywodzi na myśl najcięższe momenty z wczesnych albumów Budgie, Savoy Brown, czy jedynej płyty Black Cat Bones. Czuć w nim zespołowe emocje zrodzone podczas grania na scenie na „żywo”. Solidna sekcja rytmiczna: Dick „Ferndale” Owen (dr) i Jack Bass (bg), świetne organy Hammonda, kapitalna gitara i typowo hard rockowy wokal – oto składniki i tajemnica wielkości tego nagrania. Progresywny „Time To Die” został (gościnnie) zaśpiewany przez bardzo utalentowanego Gary Pickford-Hopkinsa z Eyes Of Blue. No i na koniec wypada jeszcze powiedzieć o moim ulubionym kawałku z tej płyty – „Mother Grease The Cat”. Myślę, że łączy on w sobie te wszystkie najciekawsze elementy stylu ANCIENT GREASE, a więc konkretny, gitarowy riff i hipnotyczny rytm przerywany uroczymi akustycznymi wstawkami.

Wkrótce po wydaniu albumu „Women And Children First” grupa ANCIENT GREASE wróciła do swej pierwotnej nazwy (Strawberry Dust) czym z pewnością nie pomogła ani samej płycie, ani swojej karierze. W Stanach album ukazał się w całkowicie zmienionej okładce. Czy był to kolejny „dowcip” Lou Reiznera? Tego pewnie już się nie dowiemy. Muzycy Eyes Of Blue także zmienili swą nazwę i jako Big Sleep wydali w 1971 roku bardzo udany album „Bluebell Wood”. Rok później John Weathers przyjął posadę perkusisty w progresywnej grupie Gentle Giant, z którą grał do jej rozwiązania w 1980 r. Wokalista Gary Pickford-Hopkins związał się z Wild Turkey, zaś Phil Ryan zasilił formację Man.

Zibi



..::TRACK-LIST::..

1. Freedom Train 4:04
2. Don't Want 5:04
3. Odd Song 5:49
4. Eagle Song 4:55
5. Where The Snow Lies Forever 5:06
6. Mother Grease The Cat 5:11
7. Time To Die 4:03
8. Prelude To A Blind Man 4:59
9. Mystic Mountain 2:55
10. Women And Children First 6:32

Bonus Track:
11. Freedom Train (Alternative Version) 3:27



..::OBSADA::..

Vocals [Uncredited] - Gareth Mortimer
Bass [Uncredited] - Jack Bass
Drums [Uncredited] - Dick Ferndale
Guitar [Uncredited] - Graham Williams



https://www.youtube.com/watch?v=49hi3WaRdFg



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

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


..::OPIS::..

Świetny album (WYDANY W 1970 ROKU W ZMIENIONEJ, AMERYKAŃSKIEJ OKŁADCE ZNANEJ ZE STAREGO WINYLU WYTWÓRNI MERCURY) nagrany przy udziale muzyków Eyes Of Blue (potem Big Sleep).
Dużo mocnych, gitarowych riffów; ciężkie, intensywne brzmienie - chociaż nie brak na płycie spokojniejszych, balladowych fragmentów. W kilku nagraniach gościnnie zaśpiewał Gary Pickford-Hopkins (znany potem z Wild Turkey).

JL


Walijska scena muzyczna na przełomie lat 60-tych i 70-tych miała niesamowitą liczbę zespołów i wykonawców cieszących się w epoce dużą popularnością, które z czasem zostały zapomniane i to na wieki. Konia z rzędem temu kto dziś kojarzy sobie nazwy takie jak The Vikings, The Blackjacks, The Mustangs, Corncrackers, The King Bees, Brothers Grimm, The Smokestacks, czy Strawberry Dust… Bardziej pamiętamy Love Sculpture Dave’a Edmundsa, Amen Corner z Andy Fairweather- Low’em w składzie, świetny Man i oczywiście kultowe trio Budgie.

W drugiej połowie lat 60-tych w Cardiff zawiązała się grupa Eyes Of Blue. Z typowo popowego zespołu wkrótce przechrzciła się na psychodelię, a na dodatek zwrócił na nią uwagę Graham Bond stając się niejako ich mentorem. Wydane dwie duże płyty w 1968 i 1969 roku („Crossroads Of Time” i „In Fields Of Ardath”) okazały się jednymi z najwybitniejszych, powstałych pomiędzy schyłkiem psychodelii, a narodzinami rocka progresywnego. Perkusista Eyes Of Blue, John Weathers, któregoś dnia natknął się w jednym z lokalnych klubów na grupę o nazwie Strawberry Dust grającą covery. W czterech chłopakach dostrzegł niezwykły potencjał i talent. Kilka miesięcy później Eyes Of Blue zaproponowali kwartetowi wspólne koncerty, oraz pomogli w nagraniu demo. Udali się w tym celu do Monmouth, gdzie w starej stodole, która nosiła dumną nazwę Rockfield Studios, zarejestrowali kilka utworów. Zainteresowali nimi słynnego producenta muzycznego z Mercury Records, Lou Reiznera. Tego samego, który zrealizował m.in. dwa pierwsze albumy Roda Stewarta, pracował z Rickiem Wakemanem, zorkiestrował rock operę „Tommy” The Who, odkrył i podpisał kontrakt z Van Der Graaf Generation, wymyślił nazwę dla greckiego zespołu Aphrodite’s Child z Vangelisem i Demisem Roussosem w składzie… Listę jego zasług dla muzycznego świata można by ciągnąć długo. Lou Reizner długo się nie zastanawiał. Wstępnie podpisał z zespołem roczny kontrakt, po czym niemal natychmiast przystąpił do nagrywania materiału na dużą płytę. Prace w Morgan Studios w Willesden trwały przez tydzień od północy do szóstej rano. „Mogę się pochwalić, że z dziesięciu nagrań aż cztery kompozycje umieszczone na płycie są mojego autorstwa, które podarowałem zespołowi.” – wspomina Weathers i dodaje: „Wszyscy byli podekscytowani i szło im naprawdę doskonale. A przecież była to tak naprawdę ich pierwsza w życiu profesjonalna sesja!”

Album zatytułowany „Women And Children First” ukazał się w lipcu 1970 roku. Tyle tylko, że firmowała go nie grupa Strawberry Dust a zespół o nazwie… ANCIENT GREASE. Okazało się, że szalony Lou Reizner zrobił „psikusa” – bez zgody zespołu samowolnie zmienił im nazwę!

Muzycy wściekli się niemiłosiernie. Doszło do wielkiej awantury i kłótni. „Ancient Grease. Cóż za idiotyczna nazwa!” – grzmiał wokalista Graham „Morty” Mortimer. Na co Lou ze stoickim i flegmatycznym spokojem tłumaczył: „Sorry chłopcy. Miało być Ancient Greece (ang. Starożytna Grecja), ale chyba zrobiłem błąd w pisowni…” ( ancient greese w wolnym tłumaczeniu: staroświeckie mazidło). Nic już nie można było poradzić. Płyta trafiła do sklepów.

Album „Women And Children First” trwający 50 minut w przeważającej mierze zawierał bardzo dynamiczny materiał oparty na mocnych, gitarowych, niemal sabbathowskich, riffach. Ciężkie, intensywne brzmienie o bluesowym zabarwieniu czasem okraszone jest partią harmonijki i organów – chociaż nie brak na płycie także spokojniejszych, balladowych momentów. Ten album to takie „dziecko swojego czasu” – mocna mieszanka pub rocka, ciężko kołyszącego rhythm and bluesa i bluesa. Ale także psychodelii rodem z San Francisco i brytyjskiego prog rocka, któremu po drodze z hard rockiem.

Zaczyna się od ciężkiego , miarowego „Freedom Train” z wyeksponowaną do przodu gitarą Grahama Williamsa. Muzyk daje też powody do radości w „Don’t Want”. To najwyższa próbka kapitalnego gitarowego czadu. Lirycznie robi się na początku w „Odd Song” za sprawą klawiszy Phila Ryana, ale potem utwór nabiera tempa i mocy. W sumie taka niby ballada, ale pełna zróżnicowanych nastrojów. Klawiszowca uwielbiam za swą świetnie zagraną partię w „Where The Snow Lies Forever”. Równie pełen zmiennych klimatów i nastrojów jest „Eagle Song”. Dynamicznie i bardzo niespokojnie mamy w blues rockowym „Prelude To A Blind Man”. Z kolei tytułowy, zagęszczony i pełen improwizacji, blisko siedmiominutowy „Women And Children First” chwilami przywodzi na myśl najcięższe momenty z wczesnych albumów Budgie, Savoy Brown, czy jedynej płyty Black Cat Bones. Czuć w nim zespołowe emocje zrodzone podczas grania na scenie na „żywo”. Solidna sekcja rytmiczna: Dick „Ferndale” Owen (dr) i Jack Bass (bg), świetne organy Hammonda, kapitalna gitara i typowo hard rockowy wokal – oto składniki i tajemnica wielkości tego nagrania. Progresywny „Time To Die” został (gościnnie) zaśpiewany przez bardzo utalentowanego Gary Pickford-Hopkinsa z Eyes Of Blue. No i na koniec wypada jeszcze powiedzieć o moim ulubionym kawałku z tej płyty – „Mother Grease The Cat”. Myślę, że łączy on w sobie te wszystkie najciekawsze elementy stylu ANCIENT GREASE, a więc konkretny, gitarowy riff i hipnotyczny rytm przerywany uroczymi akustycznymi wstawkami.

Wkrótce po wydaniu albumu „Women And Children First” grupa ANCIENT GREASE wróciła do swej pierwotnej nazwy (Strawberry Dust) czym z pewnością nie pomogła ani samej płycie, ani swojej karierze. W Stanach album ukazał się w całkowicie zmienionej okładce. Czy był to kolejny „dowcip” Lou Reiznera? Tego pewnie już się nie dowiemy. Muzycy Eyes Of Blue także zmienili swą nazwę i jako Big Sleep wydali w 1971 roku bardzo udany album „Bluebell Wood”. Rok później John Weathers przyjął posadę perkusisty w progresywnej grupie Gentle Giant, z którą grał do jej rozwiązania w 1980 r. Wokalista Gary Pickford-Hopkins związał się z Wild Turkey, zaś Phil Ryan zasilił formację Man.

Zibi



..::TRACK-LIST::..

1. Freedom Train 4:04
2. Don't Want 5:04
3. Odd Song 5:49
4. Eagle Song 4:55
5. Where The Snow Lies Forever 5:06
6. Mother Grease The Cat 5:11
7. Time To Die 4:03
8. Prelude To A Blind Man 4:59
9. Mystic Mountain 2:55
10. Women And Children First 6:32

Bonus Track:
11. Freedom Train (Alternative Version) 3:27



..::OBSADA::..

Vocals [Uncredited] - Gareth Mortimer
Bass [Uncredited] - Jack Bass
Drums [Uncredited] - Dick Ferndale
Guitar [Uncredited] - Graham Williams



https://www.youtube.com/watch?v=49hi3WaRdFg



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