TRACKLISTA:

01. Ja jestem
02. Żyj
03. Dookoła świat
04. Dzieci
05. Wiem dokładnie
06. Akcja bezpośrednia
07. Boso, ale w ostrogach
08. Rzeka
09. Ręka rękę myje ft. Kłak
10. Przesłodzili reggae od środka
11. I **** ft. Bob One
12. Trzy życzenia 2017
13. Jestem ponad tym


DANE TECHNICZNE:

Wielkość uploadu: 103 MB
Format/Kodek: Mp3

..::INFO::..

---------------------------------------------------------------------
Vangelis - 1492 - Conquest Of Paradise
(Music From The Original Soundtrack)
---------------------------------------------------------------------

Artist...............: Vangelis
Album................: 1492 - Conquest Of Paradise
Genre................: Soundtrack
Source...............: CD
Year.................: 1992
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 50 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........:

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

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

1. Vangelis - Opening [01:21]
2. Vangelis - Conquest Of Paradise [04:42]
3. Vangelis - Monastery Of La Rabida [03:44]
4. Vangelis - City Of Isabel [02:08]
5. Vangelis - Light And Shadow [03:54]
6. Vangelis - Deliverance [03:28]
7. Vangelis - West Across The Ocean Sea [02:53]
8. Vangelis - Eternity [01:58]
9. Vangelis - Hispanola [04:57]
10. Vangelis - Moxica And The Horse [07:06]
11. Vangelis - Twenty Eighth Parallel [05:15]
12. Vangelis - Pinta, Nina, Santa Maria (Into Eternity) [13:19]

Playing Time.........: 54:52
Total Size...........: 284,30 MB

..::INFO::..

---------------------------------------------------------------------
Wanda Jackson & Cliff Richard - The Best Of Rock'N'Roll
---------------------------------------------------------------------

Artist...............: Wanda Jackson & Cliff Richard
Album................: The Best Of Rock'N'Roll
Genre................: Rock'N'Roll
Source...............: CD
Year.................: 2000
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 57 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Landy Star Music

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

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

1. Wanda Jackson - Let's Have A Party [02:09]
2. Wanda Jackson - Mean Mean Mean [02:15]
3. Wanda Jackson - Fujiyama Mama [02:15]
4. Wanda Jackson - Kansas City [02:45]
5. Wanda Jackson - Sticks And Stones [02:12]
6. Wanda Jackson - Tweedle Dee [02:42]
7. Wanda Jackson - Lost Weekend [02:21]
8. Wanda Jackson - Right Or Wrong [02:41]
9. Wanda Jackson - Stupid Cupid [02:17]
10. Wanda Jackson - Slipin'And Slidin' [02:12]
11. Wanda Jackson - Brown Eyed Handsome Man [02:14]
12. Wanda Jackson - You've Turned To A Stranger [02:41]
13. Wanda Jackson - Money, Honey [02:15]
14. Wanda Jackson - Don'a Wanna [02:13]
15. Wanda Jackson - Did You Miss Me? [02:17]
16. Wanda Jackson - Cool Love [02:14]
17. Cliff Richard - The Young Ones [03:13]
18. Cliff Richard - When The Girl Is In Your Arms Is The Girl In Your Heart[02:27]
19. Cliff Richard - 'D' In Lov [02:30]
20. Cliff Richard - Move It [02:25]
21. Cliff Richard - Forty Days (To Come Back Home) [02:49]
22. Cliff Richard - Never Mind [02:04]
23. Cliff Richard - We Say Yeah [02:14]
24. Cliff Richard - It'll Be Me [01:57]
25. Cliff Richard - Living Doll [02:39]
26. Cliff Richard - Gee Whiz Its You [02:02]
27. Cliff Richard - Dynamite [01:54]
28. Cliff Richard - Mean Streak [02:02]
29. Cliff Richard - Please Don't Tease [03:01]
30. Cliff Richard - Nine Times Out Of Ten [02:10]
31. Cliff Richard - Got A Funny Feeling [02:56]

Playing Time.........: 01:14:22
Total Size...........: 430,44 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Druga duża płyta hiszpaskiego zespołu grind/deathmetalowego w stylu NAPALM DEATH, MASTIC SCUM, wczesnego PUNGENT STENCH.
Na perkusji gość z LOOKING FOR AN ANSWER!



..::TRACK-LIST::..

1. Intro
2. Spittle
3. El Nihilista
4. Rebirth
5. Celebrating Failures
6. Sweet Death
7. Unearthing
8. Wake Up The Decapitated
9. Endocrinic Philosophy
10. Satan Korps
11. One Minute Of Noise
12. Suffer The Children (Napalm Death cover)



..::OBSADA::..

Ernesto - voc, g
Alfredo - g
Felipe - voc
Gon - bg
Makoko - dr



https://www.youtube.com/watch?v=-3lw5XB8GZQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Druga duża płyta hiszpaskiego zespołu grind/deathmetalowego w stylu NAPALM DEATH, MASTIC SCUM, wczesnego PUNGENT STENCH.
Na perkusji gość z LOOKING FOR AN ANSWER!



..::TRACK-LIST::..

1. Intro
2. Spittle
3. El Nihilista
4. Rebirth
5. Celebrating Failures
6. Sweet Death
7. Unearthing
8. Wake Up The Decapitated
9. Endocrinic Philosophy
10. Satan Korps
11. One Minute Of Noise
12. Suffer The Children (Napalm Death cover)



..::OBSADA::..

Ernesto - voc, g
Alfredo - g
Felipe - voc
Gon - bg
Makoko - dr



https://www.youtube.com/watch?v=-3lw5XB8GZQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Drugi album legendarnej ekipy z Teksasu! Powrót po dwunastu długich latach z 10 nowymi utworami! Brutalny Texas Death Metal!!!



..::TRACK-LIST::..

1. Human Disposal Syndicate 03:23
2. Searching Through The Carcass Of A Hooker 03:53
3. A Hopeless Concentration Of Carnal Misery 03:51
4. The Evil That Men Do 03:40
5. Children Of The Abyss 03:24
6. Prosthetic 03:05
7. Mongolian Death Worm 03:09
8. A Beast In The Field 03:40
9. Torn Apart By Wolves 03:36
10. Goats Go To Hell 04:15



..::OBSADA::..

Vocals - Chase Nunn
Bass - John Trammell
Drums - Anthony Walker
Guitar - Bob Vanover III
Lead Guitar - Carlos Casillas




https://www.youtube.com/watch?v=FJQEurj1Mew



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Drugi album legendarnej ekipy z Teksasu! Powrót po dwunastu długich latach z 10 nowymi utworami! Brutalny Texas Death Metal!!!



..::TRACK-LIST::..

1. Human Disposal Syndicate 03:23
2. Searching Through The Carcass Of A Hooker 03:53
3. A Hopeless Concentration Of Carnal Misery 03:51
4. The Evil That Men Do 03:40
5. Children Of The Abyss 03:24
6. Prosthetic 03:05
7. Mongolian Death Worm 03:09
8. A Beast In The Field 03:40
9. Torn Apart By Wolves 03:36
10. Goats Go To Hell 04:15



..::OBSADA::..

Vocals - Chase Nunn
Bass - John Trammell
Drums - Anthony Walker
Guitar - Bob Vanover III
Lead Guitar - Carlos Casillas




https://www.youtube.com/watch?v=FJQEurj1Mew



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grindcore z Archangielska w Rosji. „Graves of Ice” to koncept-album, który nawiązuje do powieści Dana Simmonsa „Terror”. Zabójcza mieszanka grindcore i death metalu dla fanów NAPALM DEATH i NASUM!



Tuunbaq isn't only a grindcore trio hailing from Arkhangelsk in Russia but also a monstrous spirit bear in Inuit mythology. Album title Graves of Ice and the cover artwork depicting private marine William Braine from HMS Erebus are obvious allusions to the ill-fated Franklin expedition to find the legendary Northwest Passage in the mid-nineteenth century. American author Dan Simmons wrote a novel of epic proportions entitled The Terror about what might have happened to the two ships twelve years ago. The novel was transformed into a stunning television series that was released in ten gripping episodes last year. A second season followed this year but is unrelated to the novel and its settings. This subject has also been quite popular over the past few years since HMS Erebus was finally found in Queen Maud Golf five years ago while HMS Terror was found in Terror Bay three years ago. Numerous exhibitions about the expedition can be found in numerous Canadian cities. I have seen information about it at the Museum of Vancouver, the Manitoba Museum in Winnipeg, the Canadian Museum of History in Gatineau and Maritime Museum of the Atlantic in Halifax. I'm glad to see that the complex story of the ill-fated expedition continues to inspire people around the world and Tuunbaq's Graves of Ice is a wonderful example for this.

This record is much more than a grindcore record since it includes brutal death elements but also funeral doom moments and a few atmospheric ambient transitions. The record's vibe is menacing, mysterious and oppressive which suits the grim topic particularly well. The songs convince with gripping riffs, variable rhythm section and raw, haunted and desperate harsh vocals. This style brings the horrors experienced in the Great White North to life in an almost cinematic fashion. The tracks never overstay their welcome and clock in at just above two minutes on average.

''Terror Takes Shapes'' convinces with brutal eruptions followed by gloomy breakdowns that visualize the horrors the crews of the two ships faced one and a half centuries ago.

''White Man'' however is on the atmospheric side with slow and plodding riffs evoking bleak uneasiness before the song erupts into a pitiless grindcore tune.

''Carnival Blood'' is so slow and discordant that it sends shivers down the spine and the stoic drum play and thunderous bass sounds stand out in particular.

The closing ''Last Letter'' clocks in at an impressive five and a half minutes and summarizes the previous ten songs and their unique stylistics cleverly. If you only want to listen to one single track to make up your mind about the quality of this release, this outstanding highlight should be your first choice. This song is one of the most atmospheric, creative and detailed grindcore tracks ever performed.

The story of the ill-fated Franklin Expedition has intrigued people for nearly two hundred years and many conclusion will still unfold, many mysteries shall be uncovered and numerous questions still need to be answered. I'm eager to discover more documentaries, exhibits or works of fiction regarding this fascinating topic. Tuunbaq's Graves of Ice is a highlight in the latter category and convinces with atmosphere, grit and inspiration. It's certainly one of the most creative grindcore records I have ever listened to and you should give it a chance.

kluseba



..::TRACK-LIST::..

1. Captain 01:53
2. Terror Takes Shapes 01:46
3. Crew 01:51
4. White Man 02:06
5. Tuunbaq 01:31
6. Blind 01:35
7. Carnival In Blood 02:16
8. Lady Silent 00:36
9. Traitor 01:58
10. Heart Of The Northern Darkness 02:28
11. Last Letter 05:28

Bonus Tracks:
12. Souleaters 02:00
13. In Drink We Grind 00:55
14. Mommy, Can I Go Out And Kill Tonight (Misfits cover) 01:42



..::OBSADA::..

Andrey Borau - Bass
Andrey Jurgen - Guitars
Andrey Rusty - Vocals



https://www.youtube.com/watch?v=V3TYtweiF-w


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grindcore z Archangielska w Rosji. „Graves of Ice” to koncept-album, który nawiązuje do powieści Dana Simmonsa „Terror”. Zabójcza mieszanka grindcore i death metalu dla fanów NAPALM DEATH i NASUM!



Tuunbaq isn't only a grindcore trio hailing from Arkhangelsk in Russia but also a monstrous spirit bear in Inuit mythology. Album title Graves of Ice and the cover artwork depicting private marine William Braine from HMS Erebus are obvious allusions to the ill-fated Franklin expedition to find the legendary Northwest Passage in the mid-nineteenth century. American author Dan Simmons wrote a novel of epic proportions entitled The Terror about what might have happened to the two ships twelve years ago. The novel was transformed into a stunning television series that was released in ten gripping episodes last year. A second season followed this year but is unrelated to the novel and its settings. This subject has also been quite popular over the past few years since HMS Erebus was finally found in Queen Maud Golf five years ago while HMS Terror was found in Terror Bay three years ago. Numerous exhibitions about the expedition can be found in numerous Canadian cities. I have seen information about it at the Museum of Vancouver, the Manitoba Museum in Winnipeg, the Canadian Museum of History in Gatineau and Maritime Museum of the Atlantic in Halifax. I'm glad to see that the complex story of the ill-fated expedition continues to inspire people around the world and Tuunbaq's Graves of Ice is a wonderful example for this.

This record is much more than a grindcore record since it includes brutal death elements but also funeral doom moments and a few atmospheric ambient transitions. The record's vibe is menacing, mysterious and oppressive which suits the grim topic particularly well. The songs convince with gripping riffs, variable rhythm section and raw, haunted and desperate harsh vocals. This style brings the horrors experienced in the Great White North to life in an almost cinematic fashion. The tracks never overstay their welcome and clock in at just above two minutes on average.

''Terror Takes Shapes'' convinces with brutal eruptions followed by gloomy breakdowns that visualize the horrors the crews of the two ships faced one and a half centuries ago.

''White Man'' however is on the atmospheric side with slow and plodding riffs evoking bleak uneasiness before the song erupts into a pitiless grindcore tune.

''Carnival Blood'' is so slow and discordant that it sends shivers down the spine and the stoic drum play and thunderous bass sounds stand out in particular.

The closing ''Last Letter'' clocks in at an impressive five and a half minutes and summarizes the previous ten songs and their unique stylistics cleverly. If you only want to listen to one single track to make up your mind about the quality of this release, this outstanding highlight should be your first choice. This song is one of the most atmospheric, creative and detailed grindcore tracks ever performed.

The story of the ill-fated Franklin Expedition has intrigued people for nearly two hundred years and many conclusion will still unfold, many mysteries shall be uncovered and numerous questions still need to be answered. I'm eager to discover more documentaries, exhibits or works of fiction regarding this fascinating topic. Tuunbaq's Graves of Ice is a highlight in the latter category and convinces with atmosphere, grit and inspiration. It's certainly one of the most creative grindcore records I have ever listened to and you should give it a chance.

kluseba



..::TRACK-LIST::..

1. Captain 01:53
2. Terror Takes Shapes 01:46
3. Crew 01:51
4. White Man 02:06
5. Tuunbaq 01:31
6. Blind 01:35
7. Carnival In Blood 02:16
8. Lady Silent 00:36
9. Traitor 01:58
10. Heart Of The Northern Darkness 02:28
11. Last Letter 05:28

Bonus Tracks:
12. Souleaters 02:00
13. In Drink We Grind 00:55
14. Mommy, Can I Go Out And Kill Tonight (Misfits cover) 01:42



..::OBSADA::..

Andrey Borau - Bass
Andrey Jurgen - Guitars
Andrey Rusty - Vocals



https://www.youtube.com/watch?v=V3TYtweiF-w


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 14 - January 22, 1974 - The Omni, Atlanta, GA
1. Most Likely You Go Your Way (And I'll Go Mine) 3:41
2. Lay, Lady, Lay 2:58
3. Just Like Tom Thumb's Blues 5:31
4. Rainy Day Women #12 & 35 3:27
5. It Ain't Me, Babe 3:36
6. Ballad Of A Thin Man 3:28
7. Ballad Of Hollis Brown 4:01
8. Knockin' On Heaven's Door 3:25
9. The Times They Are A-Changin' 3:05
10. Don't Think Twice, It's All Right 3:38
11. Gates Of Eden 4:09
12. It's All Over Now, Baby Blue 4:38
13. It's Alright, Ma (I'm Only Bleeding) 5:10
14. Forever Young 5:10
15. Something There Is About You 4:48
16. Like A Rolling Stone 6:03
17. Most Likely You Go Your Way (And I'll Go Mine) 3:33



https://www.youtube.com/watch?v=9AD8zFrLuzc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

417 previously unreleased live performances! 'Very limited'

Sony are to release The 1974 Live Recordings a massive 27-disc box set that features all professionally recorded shows from Bob Dylan and The Band’s 1974 tour.

The box set offers fans 417 previously unreleased live tracks – including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording.

In 1974 Dylan toured live for the first time in eight years and reunited with The Band, who since they last performed live together (in 1966) had released six albums and played Woodstock and recorded with Bob (The Basement Tapes, Planet Waves).

Dylan and The Band performed 30 dates in 42 days (often playing two sets per day) and recordings were captured on a stereo soundboard mix, on both quarter-inch tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multi-track tape, for eventual release on Before the Flood. The 1974 Live Recordings includes it all of these and the shows that were recorded on 16-track tape are newly-mixed for this box set, which comes with with new sleeve notes by Elizabeth Nelson.



..::TRACK-LIST::..

CD 14 - January 22, 1974 - The Omni, Atlanta, GA
1. Most Likely You Go Your Way (And I'll Go Mine) 3:41
2. Lay, Lady, Lay 2:58
3. Just Like Tom Thumb's Blues 5:31
4. Rainy Day Women #12 & 35 3:27
5. It Ain't Me, Babe 3:36
6. Ballad Of A Thin Man 3:28
7. Ballad Of Hollis Brown 4:01
8. Knockin' On Heaven's Door 3:25
9. The Times They Are A-Changin' 3:05
10. Don't Think Twice, It's All Right 3:38
11. Gates Of Eden 4:09
12. It's All Over Now, Baby Blue 4:38
13. It's Alright, Ma (I'm Only Bleeding) 5:10
14. Forever Young 5:10
15. Something There Is About You 4:48
16. Like A Rolling Stone 6:03
17. Most Likely You Go Your Way (And I'll Go Mine) 3:33



https://www.youtube.com/watch?v=9AD8zFrLuzc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyny materiał brutalnej death-metalowej załogi z Puerto Rico w końcu doczekał się reedycji.

Cóż, określenie 'perełka' może być nieco na wyrost, ale 'Drifting To The Impaled' to EP-ka, która powinna zadowolić każdego miłośnika dobrego, staromodnego death metalu ze słabością do wczesnego MORBID ANGEL.

ENCRYPTED zdecydowanie nie jest kopią. Mieszają w sobie elementy grindu (ktoś słyszał TERRORIZER?), ogólne wpływy amerykańskiej sceny death-metalowej, a nawet odrobinę klasycznego metalu. Tak podane piwo smakuje wyśmienicie i ma też urocze, undergroundowe brzmienie.



..::TRACK-LIST::..

1. Anguish Of The Crucified 03:59
2. Drifting To The Impaled 02:13
3. Dawn Of Grief 04:30
4. Lair Of Damnation 04:16
5. Slowly They Gather (Instrumental) 03:12
6. Sin My Soul 02:39



..::OBSADA::..

Anthony Nieves - Bass
Jay Collazo - Vocals
Robert Santos - Drums
Freddy Figueroa - Guitars




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyny materiał brutalnej death-metalowej załogi z Puerto Rico w końcu doczekał się reedycji.

Cóż, określenie 'perełka' może być nieco na wyrost, ale 'Drifting To The Impaled' to EP-ka, która powinna zadowolić każdego miłośnika dobrego, staromodnego death metalu ze słabością do wczesnego MORBID ANGEL.

ENCRYPTED zdecydowanie nie jest kopią. Mieszają w sobie elementy grindu (ktoś słyszał TERRORIZER?), ogólne wpływy amerykańskiej sceny death-metalowej, a nawet odrobinę klasycznego metalu. Tak podane piwo smakuje wyśmienicie i ma też urocze, undergroundowe brzmienie.



..::TRACK-LIST::..

1. Anguish Of The Crucified 03:59
2. Drifting To The Impaled 02:13
3. Dawn Of Grief 04:30
4. Lair Of Damnation 04:16
5. Slowly They Gather (Instrumental) 03:12
6. Sin My Soul 02:39



..::OBSADA::..

Anthony Nieves - Bass
Jay Collazo - Vocals
Robert Santos - Drums
Freddy Figueroa - Guitars




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



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

..::INFO::..

---------------------------------------------------------------------
VA - The Very Best Of MTV Unplugged - Vol.1 - Vol.2
---------------------------------------------------------------------

Artist...............: Various Artists
Album................: The Very Best Of MTV Unplugged
Genre................: Pop, Rock, Acoustic
Source...............: CD
Year.................: 2002 - 2003
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 59-61 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Warner Strategic Marketing

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

---------------------------------------------------------------------
Tracklisting Vol.1
---------------------------------------------------------------------

1. Eric Clapton - Tears In Heaven [04:36]
2. Alanis Morissette - Ironic [03:51]
3. R.E.M. - Losing My Religion [04:37]
4. Sheryl Crow - Strong Enough [03:10]
5. Lenny Kravitz - Are You Gonna Go My Way [06:15]
6. Jimmy Page & Robert Plant - Gallows Pole [04:13]
7. Bryan Adams - Summer Of '69 [03:58]
8. Paul Simon - Mrs. Robinson [03:04]
9. Annie Lennox - Here Comes The Rain Again [04:29]
10. Paul McCartney - Every Night [03:18]
11. Rod Stewart - Tonight's The Night (Gonna Be Alright) [03:59]
12. The Cranberries - Linger [05:03]
13. k.d. lang - Constant Craving [04:27]
14. The Corrs - What Can I Do? [04:29]
15. Seal - Kiss From A Rose [04:16]
16. Live - Lightning Crashes [05:21]
17. Noel Gallagher - Don't Look Back In Anger [04:34]
18. Sting - Walking On The Moon [03:14]

Playing Time.........: 01:17:03
Total Size...........: 459,37 MB

---------------------------------------------------------------------
Tracklisting Vol.2
---------------------------------------------------------------------

1. Sting - Every Breath You Take [05:07]
2. Chris Isaak - Wicked Game [04:54]
3. The Cranberries - Zombie [04:17]
4. R.E.M. - Imitation of Life [04:07]
5. Eric Clapton - Layla [04:20]
6. Crowded House - Four Seasons in One Day [02:45]
7. Tori Amos - Cornflake Girl [05:32]
8. Rod Stewart - Have I Told You Lately (That I Love You) [03:59]
9. Bob Dylan - Like a Rolling Stone [08:29]
10. Bjork - Human Behaviour [03:24]
11. Seal - Crazy [04:49]
12. Midnight Oil - Beds Are Burning [04:48]
13. Sheryl Crow - Run, Baby, Run [05:04]
14. Bryan Adams - I'm Ready [04:25]
15. Phil Collins - In the Air Tonight [04:57]
16. Elton John - Don't Let the Sun Go Down on Me [06:55]

Playing Time.........: 01:17:59
Total Size...........: 477,76 MB

..::INFO::..

---------------------------------------------------------------------
Nirvana - MTV Unplugged in New York
---------------------------------------------------------------------

Artist...............: Nirvana
Album................: MTV Unplugged in New York
Genre................: Rock
Source...............: CD
Year.................: 1994
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 60 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: DGC

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

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

1. Nirvana - About A Girl [03:37]
2. Nirvana - Come As You Are [04:13]
3. Nirvana - Jesus Doesn't Want Me For A Sunbeam [04:37]
4. Nirvana - The Man Who Sold The World [04:20]
5. Nirvana - Pennyroyal Tea [03:40]
6. Nirvana - Dumb [02:52]
7. Nirvana - Polly [03:16]
8. Nirvana - On A Plain [03:44]
9. Nirvana - Something In The Way [04:01]
10. Nirvana - Plateau [03:38]
11. Nirvana - Oh Me [03:26]
12. Nirvana - Lake Of Fire [02:55]
13. Nirvana - All Apologies [04:23]
14. Nirvana - Where Did You Sleep Last Night [05:08]

Playing Time.........: 53:57
Total Size...........: 328,04 MB

...( Info )...
Title: Encuentros Guanakos Del Tercer Tipo
Artist: Torniquete
Year: 2025
Genre: Thrash-Metal
Country: El Salvador

Duration: 00:34:38
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Avistamientos instrumental
2. Amenaza clandestina
3. Rompiendo el silencio
4. Gritos de la insurrección
5. Pesadilla
6. Psicopata
7. El loco mosh
8. Encuentros guanakos del tercer tipo
9. Viajeros
10. Quien
11. Subversivos

...( Info )...
Title: Rock Lives On
Artist: Sketch Plot
Year: 2025
Genre: Hard-Rock
Country: USA

Duration: 00:40:48
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Rock Legend 03:14
02. Fortune's Favor 04:41
03. Sweet Lady 03:23
04. Dark Moon Rising 04:07
05. Saints And Sinners 06:06
06. Bluesman 05:06
07. Tears From The Sky 03:06
08. Down Real Hard 03:18
09. Rock Still Lives 02:43
10. Hate To Admit 02:31
11. Rebel From The South 02:29

...( Info )...
Title: Chasing Butterflies
Artist: Nerval Filho
Year: 2025
Genre: Hard-Rock
Country: USA

Duration: 00:43:22
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Temptation 03:00
02. I Want To Drag Out My Eyes 03:39
03. Piece Of Memory 04:14
04. Chasing Butterflies 03:43
05. Beyond My Dreams 02:44
06. Back To Where I Belong 03:42
07. We Are Gonna Play 02:51
08. Miles Away 04:02
09. Pretend You Want Me 03:48
10. Dirty Lolly 03:46
11. The Man Who Couldn't Wait 04:22
12. It's Cold Outside The House 03:27

...( Info )...
Title: Tribute
Artist: Dave D
Year: 2025
Genre: Hard-Rock
Country: USA

Duration: 00:49:13
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. In The Line Of Fire 04:11
02. I'll Be Back 04:20
03. Another Fire For The Sun 03:56
04. I Can See You Now 04:27
05. Move 03:32
06. Cold Youth 02:36
07. Armies Of Death 05:53
08. Deranged 04:46
09. Die Like A Parasite 04:09
10. Spanish Dogsled 03:41
11. Two Sides (For Dave) 03:13
12. In The Line Of Fire (Acoustic Mix) 04:24

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI




Zanurz się w otchłani ludzkiej degradacji.
Powrót do okrutnych, zwierzęcych, prymitywnych korzeni cywilizacji...



..::TRACK-LIST::..

1. Killer Resting Vehemently 02:02
2. Millennial Massacre Of Thoughts 03:27
3. Resounding Сollapse 03:14
4. Supremacy Of Cannibal Victims 03:34
5. Propagation Of Hallucinogen Tumors 01:33
6. Silent Control Breathing It 01:48
7. The Deception Conspiring 03:03
8. Pussy Grinder 01:25
9. Bad Taste 01:55
10. Nervous Implosion Of The Sick 02:07
11. Sentenciado A La Pudricion (Pudricion Vil cover) 02:59
12. Drowned In Agony 03:19



..::OBSADA::..

Mario - Guitars
Damian Coronel - Vocals
Kanamith - Drums
Christian Vierling - Bass



https://www.youtube.com/watch?v=9XLanW8KM2Y



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI




Zanurz się w otchłani ludzkiej degradacji.
Powrót do okrutnych, zwierzęcych, prymitywnych korzeni cywilizacji...



..::TRACK-LIST::..

1. Killer Resting Vehemently 02:02
2. Millennial Massacre Of Thoughts 03:27
3. Resounding Сollapse 03:14
4. Supremacy Of Cannibal Victims 03:34
5. Propagation Of Hallucinogen Tumors 01:33
6. Silent Control Breathing It 01:48
7. The Deception Conspiring 03:03
8. Pussy Grinder 01:25
9. Bad Taste 01:55
10. Nervous Implosion Of The Sick 02:07
11. Sentenciado A La Pudricion (Pudricion Vil cover) 02:59
12. Drowned In Agony 03:19



..::OBSADA::..

Mario - Guitars
Damian Coronel - Vocals
Kanamith - Drums
Christian Vierling - Bass



https://www.youtube.com/watch?v=9XLanW8KM2Y



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

The return of Brazil's undisputed Thrash-Punk masters! 8 years after the acclaimed "Seculo sinistro", RxDxPx are back with another slab of relentless, intense and socially engaged Crossover Thrash in their unmistakeable style, this time with a stronger-than-ever political message reflecting their absolute contempt against the authoritarian government that has plagued Brazil in recent years. Musically, with a career spanning through 5 decades, RATOS DE PORAO show no sign of weakening and reconfirm themselves as the absolute champions of South American Hardcore! 10 songs full of Metal and Punk mayhem keeping it fresh and dynamic at the same time, led by Jao's manic riffing and Gordo's massive, vitriolic shouts of rage. With no doubts the world's most famous basement rats have nailed it another time with a devastating album, still sounding exciting and relevant, which is an amazing achievement in Punk that most other bands of that age can't claim!



..::TRACK-LIST::..

1. Alerta Antifascista 03:31
2. Aglomeração 02:29
3. Passa Pano Pra Elite 03:41
4. Necropolítica 02:31
5. Guilhotinado Em Cristo 03:10
6. O Vira-Lata 03:39
7. G.D.O. 02:07
8. Bostanágua 02:07
9. Entubado 04:09
10. Neo Nazi Gratiluz 04:07




https://www.youtube.com/watch?v=bK3OhmUwbzQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

The return of Brazil's undisputed Thrash-Punk masters! 8 years after the acclaimed "Seculo sinistro", RxDxPx are back with another slab of relentless, intense and socially engaged Crossover Thrash in their unmistakeable style, this time with a stronger-than-ever political message reflecting their absolute contempt against the authoritarian government that has plagued Brazil in recent years. Musically, with a career spanning through 5 decades, RATOS DE PORAO show no sign of weakening and reconfirm themselves as the absolute champions of South American Hardcore! 10 songs full of Metal and Punk mayhem keeping it fresh and dynamic at the same time, led by Jao's manic riffing and Gordo's massive, vitriolic shouts of rage. With no doubts the world's most famous basement rats have nailed it another time with a devastating album, still sounding exciting and relevant, which is an amazing achievement in Punk that most other bands of that age can't claim!



..::TRACK-LIST::..

1. Alerta Antifascista 03:31
2. Aglomeração 02:29
3. Passa Pano Pra Elite 03:41
4. Necropolítica 02:31
5. Guilhotinado Em Cristo 03:10
6. O Vira-Lata 03:39
7. G.D.O. 02:07
8. Bostanágua 02:07
9. Entubado 04:09
10. Neo Nazi Gratiluz 04:07




https://www.youtube.com/watch?v=bK3OhmUwbzQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

O.R.K. PRESENT SCREAMNASIUM, THE NEW ALBUM FROM EX-PORCUPINE TREE BASSIST COLIN EDWIN, AWARD-WINNING COMPOSER/VOCALIST LEF, KING CRIMSON’S PAT MASTELOTTO, AND MARTA SUITUBI’S CARMELO PIPITONE

The expansive and emotive, Screamnasium is O.R.k’s most essential album to date. Spontaneous yet intricately crafted, it is perhaps the most concise statement of the band's sonic aims yet.

With the quartet having formed a strong creative bond over the course of three previous studio albums and with countless miles clocked up on tour, the highly anticipated follow up to 2018’s acclaimed Ramagehead has finally arrived. The pent up, derailed energies of O.R.k. have found a release with their gutsy and striking new album Screamnasium.

Setting the pace, the lead single/album opener As I Leave delivers the distilled O.R.k. spirit directly to the listener. Lef’s powerful vocals, Carmelo Pipitone’s energetic riffing, Pat Mastelotto’s inventive rhythmic accompaniment and Colin Edwin’s distinctive bass tones all infuse Screamnasium with a refreshed intensity and a new luminosity. Energy levels are maintained throughout the 42 minute runtime as O.R.k. state the case for optimism, tolerance and inclusivity - these are hopeful anthems for an increasingly uncertain world.

A highlight is Consequence, where Lef spars with Grammy-winning vocal phenom Elisa, best known outside her native Italy for her collaboration with the legendary Ennio Morricone on Quentin Tarantino's Django Unchained soundtrack.

Album closer Someone Waits features virtuoso cellist Jo Quail who provides seductive, intertwining melodies that contrast the huge riffs underpinning Screamnasium’s sound.

The creative duo of Grammy-winning art director Adam Jones (of Tool) and Marvel/DC Comics illustrator Denis Rodier have handled the artwork and layout to create an iconic album artwork with remarkable visual imagery, while mixing and Mastering duties have been undertaken by Machine (Lamb of God, King Crimson, Clutch).

Encompassing a wide breadth of emotional landscapes, Screamnasium is the perfect catharsis for our troubled times. The album will be released on 21 October 2022.



I’m one of the ones who was saddened to notice the absence of stellar bass guitarist Colin Edwin on Porcupine Tree’s good-to-tepid Closure/Continuation album earlier this year. Apparently since Edwin didn’t call Steven Wilson during their hiatus, there was no place for him in the band. Fine by me now because we have a new O.R.k. album. Remember their third album Ramagehead three years ago? If not, go read this. Or this review of their second album, Soul of an Octopus. You’ll get the gist: these guys create exciting and vital music that cannot be compared to that of Porcupine Tree. There’s a spontaneity here that is rivaled only by Boss Keloid – in fact, that’s a great comparison. O.R.k. may not be as heavy, but the quirkiness and unique delivery is there in spades, and Screamnasium is no exception.

“As I Leave” takes less than a minute to go full Soundgarden on us. It’s a great example of the band’s quirky take on both prog and alt-metal, with the quiet, airy verses and massive choruses. Keyboards flit about the speakers, odd vocal oohs and ahhs blip in and out, acoustic guitars mix with crunchy electric, and Pat Mastelotto destroys his drumkit. What a killer opening track. “Unspoken Words” shows a slightly different version of the band, with an intricate riff accompanied by an equally intricate vocal arrangement. The duet with Elisa (Toffoli, although she only goes by her first name) on “Consequence” is magnificently alluring, as the singers go back and forth and around each other in an oddly seductive manner.

Speaking of vocals, despite the pedigree of Edwin and Mastelotto, LEF is the star of O.R.k.’s show. The Soundgarden comparisons are not included by accident; LEF has the vocal range of Chris Cornell, sounding just like him when he lets it rip and adding his own unique timbre to the softer, airier melodies. It’s a fantastic performance across the entire album. And yes, Edwin’s bass work is sublime and Mastelotto’s drumming is mind-numbingly cool, and Carmelo Pipitone is an amazing guitarist, but whenever LEF sings (kind of like Boss Keloid’s Alex Hurst) he absolutely takes over the song but manages to do so without over-singing. Rather, he just makes each song sparkle more than I suspect any other singer could.

O.R.k. have been together for four albums now, and that comfort level shines throughout, with each band member knowing exactly how to mesh with the others at every step. Each song is a cohesive whole, but you can isolate the musicians and hear very cool things happening, at times quite subtly. Listen to “Hope for the Ordinary,” which is anything but. Edwin’s bass lines anchor the song perfectly, Mastelotto’s playing is neither simple nor indulgent, Pipitone’s guitars bend and flex much like Adrian Belew, and LEF’s vocals hypnotize. And that’s not even the strongest track: that honor goes to album closer “Someone Waits,” a slow burner led by a great cello performance from Jo Quail. Or possibly “Deadly Bite,” which might be one of the most menacing tracks of the year.

O.R.k. just may be the most underrated heavy prog band going. Screamnasium marks their fourth solid outing, and in fact, might be their best yet. Their unique blend of prog, metal, alt-rock, acoustic, and more combined with the disconcerting yet charismatic vocal arrangements will keep listeners coming back time and again. And each time we will hear something new in each song. New gems combined with a desire to keep listening to the whole album equals a Great rating in my book, and it should in yours as well.

Huck'n'Roll



..::TRACK-LIST::..

1. As I Leave 03:57
2. Unspoken Words 03:39
3. Consequence (feat. Elisa) 04:10
4. I Feel Wrong 04:00
5. Don't Call Me A Joke 03:24
6. Hope For The Ordinary 04:37
7. Deadly Bite 03:57
8. Something Broke 04:17
9. Lonely Crowd 03:58
10. Someone Waits 05:34



..::OBSADA::..

Vocals, Keyboards, Electronics - Lorenzo Esposito Fornasari, LEF
Drums [Acoustic, Electronic], Percussion - Pat Mastelotto
Bass, Fretless Bass - Colin Edwin
Acoustic Guitar, Electric Guitar, Backing Vocals - Carmelo Pipitone

Cello - Jo Quail (tracks: 10)
Vocals - Elisa (tracks: 3)




https://www.youtube.com/watch?v=KkV8YQ2WPBA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

O.R.K. PRESENT SCREAMNASIUM, THE NEW ALBUM FROM EX-PORCUPINE TREE BASSIST COLIN EDWIN, AWARD-WINNING COMPOSER/VOCALIST LEF, KING CRIMSON’S PAT MASTELOTTO, AND MARTA SUITUBI’S CARMELO PIPITONE

The expansive and emotive, Screamnasium is O.R.k’s most essential album to date. Spontaneous yet intricately crafted, it is perhaps the most concise statement of the band's sonic aims yet.

With the quartet having formed a strong creative bond over the course of three previous studio albums and with countless miles clocked up on tour, the highly anticipated follow up to 2018’s acclaimed Ramagehead has finally arrived. The pent up, derailed energies of O.R.k. have found a release with their gutsy and striking new album Screamnasium.

Setting the pace, the lead single/album opener As I Leave delivers the distilled O.R.k. spirit directly to the listener. Lef’s powerful vocals, Carmelo Pipitone’s energetic riffing, Pat Mastelotto’s inventive rhythmic accompaniment and Colin Edwin’s distinctive bass tones all infuse Screamnasium with a refreshed intensity and a new luminosity. Energy levels are maintained throughout the 42 minute runtime as O.R.k. state the case for optimism, tolerance and inclusivity - these are hopeful anthems for an increasingly uncertain world.

A highlight is Consequence, where Lef spars with Grammy-winning vocal phenom Elisa, best known outside her native Italy for her collaboration with the legendary Ennio Morricone on Quentin Tarantino's Django Unchained soundtrack.

Album closer Someone Waits features virtuoso cellist Jo Quail who provides seductive, intertwining melodies that contrast the huge riffs underpinning Screamnasium’s sound.

The creative duo of Grammy-winning art director Adam Jones (of Tool) and Marvel/DC Comics illustrator Denis Rodier have handled the artwork and layout to create an iconic album artwork with remarkable visual imagery, while mixing and Mastering duties have been undertaken by Machine (Lamb of God, King Crimson, Clutch).

Encompassing a wide breadth of emotional landscapes, Screamnasium is the perfect catharsis for our troubled times. The album will be released on 21 October 2022.



I’m one of the ones who was saddened to notice the absence of stellar bass guitarist Colin Edwin on Porcupine Tree’s good-to-tepid Closure/Continuation album earlier this year. Apparently since Edwin didn’t call Steven Wilson during their hiatus, there was no place for him in the band. Fine by me now because we have a new O.R.k. album. Remember their third album Ramagehead three years ago? If not, go read this. Or this review of their second album, Soul of an Octopus. You’ll get the gist: these guys create exciting and vital music that cannot be compared to that of Porcupine Tree. There’s a spontaneity here that is rivaled only by Boss Keloid – in fact, that’s a great comparison. O.R.k. may not be as heavy, but the quirkiness and unique delivery is there in spades, and Screamnasium is no exception.

“As I Leave” takes less than a minute to go full Soundgarden on us. It’s a great example of the band’s quirky take on both prog and alt-metal, with the quiet, airy verses and massive choruses. Keyboards flit about the speakers, odd vocal oohs and ahhs blip in and out, acoustic guitars mix with crunchy electric, and Pat Mastelotto destroys his drumkit. What a killer opening track. “Unspoken Words” shows a slightly different version of the band, with an intricate riff accompanied by an equally intricate vocal arrangement. The duet with Elisa (Toffoli, although she only goes by her first name) on “Consequence” is magnificently alluring, as the singers go back and forth and around each other in an oddly seductive manner.

Speaking of vocals, despite the pedigree of Edwin and Mastelotto, LEF is the star of O.R.k.’s show. The Soundgarden comparisons are not included by accident; LEF has the vocal range of Chris Cornell, sounding just like him when he lets it rip and adding his own unique timbre to the softer, airier melodies. It’s a fantastic performance across the entire album. And yes, Edwin’s bass work is sublime and Mastelotto’s drumming is mind-numbingly cool, and Carmelo Pipitone is an amazing guitarist, but whenever LEF sings (kind of like Boss Keloid’s Alex Hurst) he absolutely takes over the song but manages to do so without over-singing. Rather, he just makes each song sparkle more than I suspect any other singer could.

O.R.k. have been together for four albums now, and that comfort level shines throughout, with each band member knowing exactly how to mesh with the others at every step. Each song is a cohesive whole, but you can isolate the musicians and hear very cool things happening, at times quite subtly. Listen to “Hope for the Ordinary,” which is anything but. Edwin’s bass lines anchor the song perfectly, Mastelotto’s playing is neither simple nor indulgent, Pipitone’s guitars bend and flex much like Adrian Belew, and LEF’s vocals hypnotize. And that’s not even the strongest track: that honor goes to album closer “Someone Waits,” a slow burner led by a great cello performance from Jo Quail. Or possibly “Deadly Bite,” which might be one of the most menacing tracks of the year.

O.R.k. just may be the most underrated heavy prog band going. Screamnasium marks their fourth solid outing, and in fact, might be their best yet. Their unique blend of prog, metal, alt-rock, acoustic, and more combined with the disconcerting yet charismatic vocal arrangements will keep listeners coming back time and again. And each time we will hear something new in each song. New gems combined with a desire to keep listening to the whole album equals a Great rating in my book, and it should in yours as well.

Huck'n'Roll



..::TRACK-LIST::..

1. As I Leave 03:57
2. Unspoken Words 03:39
3. Consequence (feat. Elisa) 04:10
4. I Feel Wrong 04:00
5. Don't Call Me A Joke 03:24
6. Hope For The Ordinary 04:37
7. Deadly Bite 03:57
8. Something Broke 04:17
9. Lonely Crowd 03:58
10. Someone Waits 05:34



..::OBSADA::..

Vocals, Keyboards, Electronics - Lorenzo Esposito Fornasari, LEF
Drums [Acoustic, Electronic], Percussion - Pat Mastelotto
Bass, Fretless Bass - Colin Edwin
Acoustic Guitar, Electric Guitar, Backing Vocals - Carmelo Pipitone

Cello - Jo Quail (tracks: 10)
Vocals - Elisa (tracks: 3)




https://www.youtube.com/watch?v=KkV8YQ2WPBA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem pozytywnie zaskoczony kierunkiem, jaki Cryptopsy obrało na 'An Insatiable Violence'. Powrót do korzeni zdecydowanie im się opłacił, mianowicie już dawno nie słyszałem w ich wykonaniu tak gorącej rzezi. Masa ciekawych patentów, subtelne smaczki muzyczne, potencjał bangerowy i długość sprawiają, że najnowszego rzemiosła Kanadyjczyków słucha się z przyjemnością. Jest to sygnał, że w przyszłości Cryptopsy zacznie wydawać kolejne płyty, którym nie narobi sobie wstydu, czego im właściwie życzę.



I bought the new Cryptopsy blindly, since both their previous album and the EPs that preceded it showed that the guys were in above-average form. But what I got on An Insatiable Violence exceeded my wildest expectations. Cryptopsy has created a death metal monster — an album that’s brutal, furious, and overwhelming; technically dazzling, compositionally breathtaking, and sonically stunning.

And just to be clear — this isn’t even my favorite kind of death metal. I’m most in love with old-school stuff: raw playing with a punky feel, Swedish melodies, Finnish darkness, crumbling rubble, the stench of rotting corpses wafting from decaying graves, and the crunch of shifting bones. The kind of music Cryptopsy plays is polished, mechanical, and insanely precise. But I’d have to be deaf not to appreciate An Insatiable Violence. The Canadians have delivered arguably the most jaw-dropping death metal record of the year — and one of the best in their entire discography.

The riffs crush, the rhythms enslave, and the technique and precision of each track inspire silent awe. The production is incredible — merciless and brutal, yet at the same time so clear, so selective, and so perfectly balanced that even in the most intense moments, it doesn’t dissolve into chaos. Instead, it throbs, pulses, and breathes like a living creature. Like Godzilla trampling a city — and as its ominous shadow falls over us, we hear its breath, its pounding heart, and the sweat dripping down its scaly skin. And when a solo tears into that merciless onslaught, the hairs stand up not only on my head but on my legs too.

Vocally, it’s also excellent. I was never much of a fan of Matt McGachy and secretly prayed to the Holy Virgin for Lord Worm’s return, but this time I have to bow my head and admit — Matt has never sounded this convincing. At times, when he spits out his lines fast, intensely, and mercilessly, I can’t help but think of George "Corpsegrinder" Fisher himself — a man with a throat wider than my shoulders.

I expected another solid Cryptopsy album — something that would entertain me for a few evenings before ending up on a shelf for an indefinite period. Instead, the Canadians return with a work that could give even the genre’s biggest giants an inferiority complex. They're throwing down a gauntlet so bold that, honestly, I don’t see anyone daring to pick it up. And the most wonderful thing is that I’m listening to this record for the sixth or seventh time now, and I still feel like I’m just at the threshold of this world. With every listen, with every hour I devote to it, this album continues to reveal more secrets, boundless riches, and sonic delights.

Maria Konopnicka


Let’s face it: Whether we like it or not, most metal bands that are past their prime tend towards a downward trajectory of songwriting skills, and, after about four or five albums, settle into empty shells of their eroded, former talents. Not so with Cryptopsy (and Immolation and a few other old masters). This is the band’s ninth full-length (or tenth, if you combine the two Book of Suffering EP’s into a single full-length), and they are as spirited, potent, and in-your-face aggressive as they have been since their debut. They refuse to be the beaten old dog of death metal and effortlessly bite the heads off of most young pups in the scene.

That’s not to say that An Insatiable Violence is effortless gunk, however. Au contraire, each member of the band has invested every inch and ounce of his hard-and-long-earned talent into writing, recording, mixing, and producing this masterpiece. The album wastes no time with vacuous, non-metal mood-setters and digs its rabid claws straight into the meat with The Nimis Adoration, which previews the aural assault your eardrums are about to be at the receiving end of for the next half-hour. Every riff, every strike of the snare drum, every melody, and every growl that follows is crafted with mathematical precision to create the maximum emotional pay-off for the Cryptopsy fan. There is both the classic Cryptopsy you are familiar with, and some experimental stuff they have gradually incorporated into their style in the last 20 years. What makes Cryptopsy special, at least to me, is that while several bands can match Cryptopsy on the technical front—no thanks to the flood of guitar nerds ruining the scene lately—not many can also pack the emotional density into each of the multiple layers of guitars, drums, and bass synergies as these artists do in this album. (I am barely done unpacking all of those layers for As Gomorrah Burns, and they drop another one?) And what’s more, in an era of metal bands eschewing guitar solos altogether, there are actually twin guitar solos in a few songs.

Despite being a brutal death metal band, Cryptopsy has shied away from writing overly violent or gory lyrics for much of their career, notwithstanding the decapitated head in one of their coverarts. The pattern isn’t broken here. An Insatiable Violence has lyrics that are both dark and highly relevant to the modern digital society: Nearly every song paints the tragic portrait of someone consumed by the need for external validation, pushing themselves to unsustainable extremes—physically, emotionally, existentially—to achieve a fleeting sense of momentary immortality (oxymoron much?) through exhibitionism. Take the Art of Emptiness, for example. This song is about someone who is already on the precipice of physical frailty, but still craves the high he/she gets from exhibiting himself/herself to the pack of peeking onlookers, until: “I cut back even further, the results were quite shocking; A little bit more each and every day; Which to my surprise only motivated their gawking.” The lyrics of other songs revolve around similar themes of social media voyeurism that borders on sadism, both from the perspectives of the addicted audience and the yet-more-addicted exhibitionists. (I read somewhere that the lyrics to one song was inspired by a dream vocalist Matt McGachy’s had one night.) The “violence” in the title of the album refers more to this type of psychological violence than a physical one: it’s self-destructive, compulsive, addictive…and insatiable.

A word about the production. Christian Donaldson, the multi-talented guitarist of Cryptopsy and the producer of this record, has been producing music since he was 15—what!—which gives him an experience of over 30 years in the production craft. He is familiar with every nook and cranny of Pro Tools, and leverages it to extract the best-sounding texture for each instrument that matches the mood and tone of the album. The end result, in my opinion, is the most well-produced death metal album I’ve heard this year. Seriously, a pair of good earphones and the volume knob dialed up—but not all the way up—gave me a kind of musical pleasure I never knew was possible!

In summary, I strongly recommend An Insatiable Violence to any long-time Cryptopsy fan. I’m utterly in awe that a band of this vintage can not only outperform other TBDM bands of recent times, but to a debatable extent outperform many of their own past records. In my ledger, this is the best death metal album of 2025 (although I am still curious about what Inferi, Demon King, and Psycroptic will churn out later in the year). I know it will keep me busy for some time ahead. I hope their upward trajectory continues into the future, and I wish Flo, Chris, Matt, and Olivier the very best for upcoming records.

Nuclear5641



..::TRACK-LIST::..

1. The Nimis Adoration 04:10
2. Until There's Nothing Left 03:58
3. Dead Eyes Replete 03:57
4. Fools Last Acclaim 03:25
5. The Art of Emptiness 04:15
6. Our Great Deception 04:20
7. Embrace the Nihility 03:50
8. Malicious Needs 05:51



..::OBSADA::..

Christian Donaldson - Guitars
Flo Mounier - Drums & Backing Vocals
Matt McGachy - Vocals
Oli Pinard - Bass

Guest Musicians:
Mike DiSalvo on the song 'Embrace the Nihility'




https://www.youtube.com/watch?v=wFWOsXUM2JE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem pozytywnie zaskoczony kierunkiem, jaki Cryptopsy obrało na 'An Insatiable Violence'. Powrót do korzeni zdecydowanie im się opłacił, mianowicie już dawno nie słyszałem w ich wykonaniu tak gorącej rzezi. Masa ciekawych patentów, subtelne smaczki muzyczne, potencjał bangerowy i długość sprawiają, że najnowszego rzemiosła Kanadyjczyków słucha się z przyjemnością. Jest to sygnał, że w przyszłości Cryptopsy zacznie wydawać kolejne płyty, którym nie narobi sobie wstydu, czego im właściwie życzę.



I bought the new Cryptopsy blindly, since both their previous album and the EPs that preceded it showed that the guys were in above-average form. But what I got on An Insatiable Violence exceeded my wildest expectations. Cryptopsy has created a death metal monster — an album that’s brutal, furious, and overwhelming; technically dazzling, compositionally breathtaking, and sonically stunning.

And just to be clear — this isn’t even my favorite kind of death metal. I’m most in love with old-school stuff: raw playing with a punky feel, Swedish melodies, Finnish darkness, crumbling rubble, the stench of rotting corpses wafting from decaying graves, and the crunch of shifting bones. The kind of music Cryptopsy plays is polished, mechanical, and insanely precise. But I’d have to be deaf not to appreciate An Insatiable Violence. The Canadians have delivered arguably the most jaw-dropping death metal record of the year — and one of the best in their entire discography.

The riffs crush, the rhythms enslave, and the technique and precision of each track inspire silent awe. The production is incredible — merciless and brutal, yet at the same time so clear, so selective, and so perfectly balanced that even in the most intense moments, it doesn’t dissolve into chaos. Instead, it throbs, pulses, and breathes like a living creature. Like Godzilla trampling a city — and as its ominous shadow falls over us, we hear its breath, its pounding heart, and the sweat dripping down its scaly skin. And when a solo tears into that merciless onslaught, the hairs stand up not only on my head but on my legs too.

Vocally, it’s also excellent. I was never much of a fan of Matt McGachy and secretly prayed to the Holy Virgin for Lord Worm’s return, but this time I have to bow my head and admit — Matt has never sounded this convincing. At times, when he spits out his lines fast, intensely, and mercilessly, I can’t help but think of George "Corpsegrinder" Fisher himself — a man with a throat wider than my shoulders.

I expected another solid Cryptopsy album — something that would entertain me for a few evenings before ending up on a shelf for an indefinite period. Instead, the Canadians return with a work that could give even the genre’s biggest giants an inferiority complex. They're throwing down a gauntlet so bold that, honestly, I don’t see anyone daring to pick it up. And the most wonderful thing is that I’m listening to this record for the sixth or seventh time now, and I still feel like I’m just at the threshold of this world. With every listen, with every hour I devote to it, this album continues to reveal more secrets, boundless riches, and sonic delights.

Maria Konopnicka


Let’s face it: Whether we like it or not, most metal bands that are past their prime tend towards a downward trajectory of songwriting skills, and, after about four or five albums, settle into empty shells of their eroded, former talents. Not so with Cryptopsy (and Immolation and a few other old masters). This is the band’s ninth full-length (or tenth, if you combine the two Book of Suffering EP’s into a single full-length), and they are as spirited, potent, and in-your-face aggressive as they have been since their debut. They refuse to be the beaten old dog of death metal and effortlessly bite the heads off of most young pups in the scene.

That’s not to say that An Insatiable Violence is effortless gunk, however. Au contraire, each member of the band has invested every inch and ounce of his hard-and-long-earned talent into writing, recording, mixing, and producing this masterpiece. The album wastes no time with vacuous, non-metal mood-setters and digs its rabid claws straight into the meat with The Nimis Adoration, which previews the aural assault your eardrums are about to be at the receiving end of for the next half-hour. Every riff, every strike of the snare drum, every melody, and every growl that follows is crafted with mathematical precision to create the maximum emotional pay-off for the Cryptopsy fan. There is both the classic Cryptopsy you are familiar with, and some experimental stuff they have gradually incorporated into their style in the last 20 years. What makes Cryptopsy special, at least to me, is that while several bands can match Cryptopsy on the technical front—no thanks to the flood of guitar nerds ruining the scene lately—not many can also pack the emotional density into each of the multiple layers of guitars, drums, and bass synergies as these artists do in this album. (I am barely done unpacking all of those layers for As Gomorrah Burns, and they drop another one?) And what’s more, in an era of metal bands eschewing guitar solos altogether, there are actually twin guitar solos in a few songs.

Despite being a brutal death metal band, Cryptopsy has shied away from writing overly violent or gory lyrics for much of their career, notwithstanding the decapitated head in one of their coverarts. The pattern isn’t broken here. An Insatiable Violence has lyrics that are both dark and highly relevant to the modern digital society: Nearly every song paints the tragic portrait of someone consumed by the need for external validation, pushing themselves to unsustainable extremes—physically, emotionally, existentially—to achieve a fleeting sense of momentary immortality (oxymoron much?) through exhibitionism. Take the Art of Emptiness, for example. This song is about someone who is already on the precipice of physical frailty, but still craves the high he/she gets from exhibiting himself/herself to the pack of peeking onlookers, until: “I cut back even further, the results were quite shocking; A little bit more each and every day; Which to my surprise only motivated their gawking.” The lyrics of other songs revolve around similar themes of social media voyeurism that borders on sadism, both from the perspectives of the addicted audience and the yet-more-addicted exhibitionists. (I read somewhere that the lyrics to one song was inspired by a dream vocalist Matt McGachy’s had one night.) The “violence” in the title of the album refers more to this type of psychological violence than a physical one: it’s self-destructive, compulsive, addictive…and insatiable.

A word about the production. Christian Donaldson, the multi-talented guitarist of Cryptopsy and the producer of this record, has been producing music since he was 15—what!—which gives him an experience of over 30 years in the production craft. He is familiar with every nook and cranny of Pro Tools, and leverages it to extract the best-sounding texture for each instrument that matches the mood and tone of the album. The end result, in my opinion, is the most well-produced death metal album I’ve heard this year. Seriously, a pair of good earphones and the volume knob dialed up—but not all the way up—gave me a kind of musical pleasure I never knew was possible!

In summary, I strongly recommend An Insatiable Violence to any long-time Cryptopsy fan. I’m utterly in awe that a band of this vintage can not only outperform other TBDM bands of recent times, but to a debatable extent outperform many of their own past records. In my ledger, this is the best death metal album of 2025 (although I am still curious about what Inferi, Demon King, and Psycroptic will churn out later in the year). I know it will keep me busy for some time ahead. I hope their upward trajectory continues into the future, and I wish Flo, Chris, Matt, and Olivier the very best for upcoming records.

Nuclear5641



..::TRACK-LIST::..

1. The Nimis Adoration 04:10
2. Until There's Nothing Left 03:58
3. Dead Eyes Replete 03:57
4. Fools Last Acclaim 03:25
5. The Art of Emptiness 04:15
6. Our Great Deception 04:20
7. Embrace the Nihility 03:50
8. Malicious Needs 05:51



..::OBSADA::..

Christian Donaldson - Guitars
Flo Mounier - Drums & Backing Vocals
Matt McGachy - Vocals
Oli Pinard - Bass

Guest Musicians:
Mike DiSalvo on the song 'Embrace the Nihility'




https://www.youtube.com/watch?v=wFWOsXUM2JE



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

..::INFO::..

---------------------------------------------------------------------
Ozzy Osbourne - Platinum Collection 2003 - Dreamer
---------------------------------------------------------------------

Artist...............: Ozzy Osbourne
Album................: Platinum Collection 2003
Genre................: Hard Rock
Source...............: CD
Year.................: 2003
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment

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

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

1. Ozzy Osbourne - Facing Hell [04:25]
2. Ozzy Osbourne - Mr. Crowley [04:56]
3. Ozzy Osbourne - Perry Mason [05:54]
4. Ozzy Osbourne - Creazy Train [04:51]
5. Ozzy Osbourne - Gets Me Through [05:01]
6. Ozzy Osbourne - Running Out if Time [05:02]
7. Ozzy Osbourne - No More Tears [05:54]
8. Ozzy Osbourne - Mama, I'm Coming Home [04:09]
9. Ozzy Osbourne - Creazy Babies [04:14]
10. Ozzy Osbourne - Over the Mountain [04:32]
11. Ozzy Osbourne - Breaking All the Rules [05:11]
12. Ozzy Osbourne - Goodbye to Romance [05:30]
13. Ozzy Osbourne - Bark at the Moon [04:15]
14. Ozzy Osbourne - Shot in the Dark [04:14]
15. Ozzy Osbourne - I don't Want to Change the World [03:52]
16. Ozzy Osbourne - Dreamer [04:44]
17. Ozzy Osbourne - Paranoid [02:47]

Playing Time.........: 01:19:40
Total Size...........: 562,18 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy krążek Mekongów z nowym wokalistą zapożyczonym z amerykańskiej formacji Siren – Dougiem Lee. Wspominam o tym nie bez powodu, bo na tym dwudziestokilkuletnim krążku zespół osiągnął swoje maksimum kadrowe, a sam Dances of Death to, moim skromnym zdaniem, szczytowe osiągnięcie Niemców. Co prawda nie miałem jeszcze okazji zapoznać się z ubiegłorocznym „Intersections”, ale przeglądając zaprzyjaźnione (a także niezaprzyjaźnione) obejścia widzę, że ataku na szczyt raczej nie przeprowadzono. Mimo swojej wrodzonej niewiary w słowa innych, skłonny jestem uwierzyć w taki stan rzeczy – nie mam bowiem (niestety) ani złudzeń, że stać chłopaków na coś równie wielkiego (choć „Wanderer On The Edge Of Time” bezsprzecznie pokazał klasę), ani wątpliwości co do faktu, że „kiedyś to było lepiej, wnusiu” (vide ostatnie dziecko Wolf Spider pt. „Feniks”, ale o tym następną razą). A było tak: wraz ze zmianą wokalisty i pojawieniem się Douga, zespół zboczył w nieco bardziej melodyjne klimaty. Swoistą szorstkość i pogmatwanie zajęły struktury bardziej user-friendly, ale także bardziej post-thrashowe (w dobrym tego terminu rozumieniu). W związku z tym, muzyka nabrała w wielu utworach bardzo repetywnego i transowego charakteru, a jeśli dodać do tego wysokie, śpiewano-skandowane wokale, wyjdzie miks dość niespotykany – jakże jednak zajebisty. Miks zakrzywiający czasoprzestrzeń; przekonać możecie się sami, gdy, ni stąd ni zowąd, słyszycie pierwszy na płycie kawałek, ponownie.

Muzyka ewoluowała w stronę większej przebojowości, nie tracąc nic ze swojego charakteru ani złożoności. Wszystko rozbija się o nieco inne rozmieszczenie akcentów, nowego wokalistę, który przemycił kilka charakterystycznych dla siebie patentów i większy udział melodii w dziele zniszczenia receptorów. Tym bardziej, że melodie te do słodkich nie należą i fanów poweru nie ucieszą. O warsztacie nie ma co pisać, bo że światowej klasy rozumie się samo przez się i, choćby, z poprzednich recenzji. Jest więc tak samo jak na „The Principle of Doubt” tylko lepiej. I tym sposobem mamy drugą „dychę” pod rząd.

ocena: 10/10
deaf


The Mekong Delta career can be split into three periods: 1987-1989; 1990-1994, and 2007-until the present day. Ralph Hubert has kept the level high all these years always finding capable musicians to realise his ultimately complex, classical-haunted schizophrenic visions. He teamed up with the Living Death guitarists during the first period, and their clinical surreal, hallucinogenic shreds made the band a name quickly as suppliers of elaborate, not very accessible at times, but ultimately intelligent progressive thrash. By 1990 the two axemen had to go, and were replaced by just one, the unknown at the time guitar wizard Uwe Baltrusch who brought a warmer, more flexible technical thrash template which worked better alongside the growing classical infatuations of Hubert. After the reformation in the new millennium the man hasn’t been able to keep a steady line-up having worked so far with musicians from Scanner, Helloween, Theory in Practice, Annihilator, etc., and consequently this is the most versatile period from the band’s history with a wider range of influences and styles. Please note that “Pictures at an Exhibition”, the 1997 instalment, hasn’t been included in any of the periods due to its non-metal, too classical-immersed nature.

Although my personal favourite from the band’s discography is “Kaleidoscope”, and I consider the second period the finest one, I haven’t been able to find too many metalheads to share my predilections. In 80% of the cases the preferences go towards the first period with “The Music of Erich Zann” and “The Principle of Doubt” splitting the fans’ opinions as to which the guys’ finest hour is. There’s a lot of greatness emitting from those two, there’s absolutely no doubt about that, but I have always found the Living Death lads’ pyrotechnics way too dry and sterile, making the more elaborate sections even more difficult to decipher, devoid of soul and empathy (who needs these on a metal album, man?! get a grip!). With the arrival of Baltrusch the guitar sound acquired a more volatile, easier to mould, character which made the “thrash vs. classical music” hybridization way more coherent and smoother, and needless to add more melodic. Actually, the guy was already a part of the line-up on “The Principle of Doubt”, but his role on that one was only restricted to providing the leads. On the album reviewed here he handles all the guitarisms, and his talent is on full display all over.

Another important new addition to the line-up was the singer Doug Lee, a former “siren” of the American progressive power metallers Siren. Hubert produced their only foray, and decided that Lee would do no wrong to replace Wolfgang Borgmann, the latter another debatable departure provided that his wailing eccentric, hygienically clean vocals were an indelible part of the band’s early exploits. Hubert was obviously doing a major renovation of the interior… but was all that hassle for the better?

After a short quiet introduction, with which the conceptual part, comprising eight movements, of the album commences the band erupt on “Eruption” with frantic, bouncy thrashing which becomes wilder with time reaching headbanging proportions with ease, with outlandish gallops taking over making this very short instrumental a most eventful riff-fest. “Beyond the Gates” follows suit, and Lee comes to the fore with his exemplary dramatic antics sounding way more proficient than Borgmann’s shaky falcetto. The intricate thrashorama is absolutely compelling with steel sharp riffage cutting deep burrows into the listener’s brain as the latter won’t have much time to absorb everything here despite the several more orthodox passages provided; a stupendous technical thrash stroke splits the song into two this particular passage a pivotal moment on the whole conceptual etude. “Outburst” is exactly that, an outburst, 1.5-min of hectic schizoid riffing which flows into “Days of Betrayal”, the definitive progressive thrashterpiece with frenetic fast-paced crescendos and eclectic dramatic build-ups during the supposed chorus the latter handled by Lee in the most quirky semi-dispassionate manner.

“Restless” is exactly that, one min or restless semi-lead driven thrash which gives way to “Sanctuary”, a brilliant surreal piece with creepy mid-paced hypnotic riffs, more ambitious progressive vortexes and a more dynamic exit all this contained within mere 3-min. “Finale” is naturally the end of the “Dances of Death” opera, a magnificent speed/thrashy tractate with busy jumpy interruptions and some truly memorable riff applications. “Transgressor” is minimalistic technical thrash with superb more laid-back atmospherics Lee outstanding behind the mike producing mesmerizing highly dramatic vocal pirouettes. “True Believers” is another delight for all technical and progressive metal lovers with Hubert taking the upper hand with great vociferous bass support, with twisted leads surrounding the engaging rifforamas which alternate hard-hitting dashes with pacifying “idylls” the meanly spat chorus (“I don’t believe you… parasite”) another highlight on this exemplary multi-faceted composition. But that’s not all as the centrepiece of the whole opus is yet to be savoured, “Night on a Bare Mountain”, an 11-min interpretation of the Modest Mussorgski’s symphony of the same title, a supreme blend of classical structuring and aggressive thrashing shreds, one of the ten best instrumentals in the annals of metal, the main motif alone deserving the price of admission with its infectious melodic roller-coaster vibe; Hubert makes himself heard with several authoritative bassy excursions which usually appear after a hyper-active riff-salad all the way to the meditative balladic finale.

Dancing with Death has never been a more tantalizing proposition the band sounding as convincing as ever after the considerable cosmetic alterations. On “The Principle of Doubt” they really found their stride, and apprehension was definitely up in the air the fanbase worried about future recordings with regards to the line-up changes made, also considering the transformational process that was starting worldwide with new sounds entering the audience’s consciousness. It didn’t take long for the latter to see that that it would be business as usual in the Mekong Delta camp, and that the classic progressive thrash panorama would proceed on full-throttle arguably even sounding more appealing with the new musicians involved. If music-wise the shift wasn’t that radical, Baltrusch’s shreds not drastically different from the ones of his colleagues, in the vocal department Lee definitely sounded more convincing than Borgmann, and not much less bizarre truth be told, especially on those high-strung dramatic, semi-quarrelsome tirades. A great new beginning for everyone involved this effort was which had a most worthy follow-up in the form of the mentioned “Kaleidoscope”, the climax in the band’s career. The seeds for that opus’ grandeur were planted by this album here Hubert dexterously conducting all the performers in one flawlessly arranged, thrashy/classical danse macabre.

Bayern


It is technical thrash metal combined with classical music, how could this be any bad?
After having a very positive experience with Mekong Delta on their fifth album, Kaleidoscope, I have decided to increase the ammount of albums by them that I own, acquiring at one time Dances of Death, Vision Fugitives, Lurking Fear and Wanderer at the Edge of Time and I must say that, with the exception of Lurking Fear, all those releases were nearly incredable, quality-wise, but Dances of Death (and Other Walking Shadows) had a really special quality: in spite of still having separate instances where they played (progressive) thrash metal and then metal arrangements for classical pieces (the second half of the album), they were able to step-up their business and come up with an epic that managed to merge those two parts of their music.

There is no denying that the epic is the center piece of Dances of Death. It accounts for about half of the album's length, it showcases the band full potential al both players and composers, it is able to take you through all sorts of places without straying from the main lines or ideas of the song (the song is really varied and eclectic) and also manages to do all that without wasting your tame with unecessary or unwanted wankery. As I mentioned in my previous Meking Delta review, the band's vocalist isn't very much likeble, but in the suite he does not gets in the way too much, so I can say that he at least does not gets in your way when listening to the song.

The next songs, Transgressor and True Believers, are two thrash songs with an approach that, although more straighforward than that of the suite, don't lag behind regarding the progressive factor. Furthermore, they are so well written that not only the vocalist does not get in the way, but his awkward voice actually fits in these compositions, to my utter surprise.

The final two tracks are instrumental thrash metal adaptations or arrangements of classical compositions, both being originally written by Modest Mussorgsky during the mid 19th century. The first of them is Night on a Bald (or Bare) Mountain and the second is the bonus track The Gnome, part of Modest's piece Pictures at an Exihibition. The adaptations the band does of both songs is very convincing and solid, showing indeed how skilled are these guys.

A comparison that I believe is appropriate to be made here is between them and Emerson, Lake and Palmer. Despite the fact that one of them played rock and the other plays heavy metal, both have similar approaches to their respective style of music, infusing considerable amounts of classical music (with a particular, if not exclusive, preference to the romantic period) in each band's style.

So far in my exploration of Mekong Delta's discography, Dances of Death (and Other Walking Shadows) has proved to be the band's most accomplished album. The compositional habilities of the band are on the top and the pieces they have chosen to cover in the end of the album also prove to be among the highest degree of quality. That is the biggest quality of this album, the compositions: it has very intelligently written and diversed or varied songs. Besides not having a single bad part, the album present us the best moment of a band that pushed the boundaries of thrash metal music, inventing yet another path beyond that initiated by acts like Watchtower and Voivod, what makes them deserving of the best rating.

CCVP



..::TRACK-LIST::..

I. Dances Of Death:
1. Introduction 01:11
2. Eruption 01:34
3. Beyond the Gates 04:52
4. Outburst 01:19
5. Days Of Betrayal 04:14
6. Restless 00:53
7. Sanctuary 03:00
8. Finale 02:06

II. Transgressor 03:17
III. True Believers 05:25
IV. Night On A Bare Mountain 10:24



..::OBSADA::..

Bass, Acoustic Guitar - Björn Eklund
Drums - Gordon Perkins
Guitar [Guitars] - Uwe B.
Vocals - Doug Lee



https://www.youtube.com/watch?v=a4IADCr5Cw4


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy krążek Mekongów z nowym wokalistą zapożyczonym z amerykańskiej formacji Siren – Dougiem Lee. Wspominam o tym nie bez powodu, bo na tym dwudziestokilkuletnim krążku zespół osiągnął swoje maksimum kadrowe, a sam Dances of Death to, moim skromnym zdaniem, szczytowe osiągnięcie Niemców. Co prawda nie miałem jeszcze okazji zapoznać się z ubiegłorocznym „Intersections”, ale przeglądając zaprzyjaźnione (a także niezaprzyjaźnione) obejścia widzę, że ataku na szczyt raczej nie przeprowadzono. Mimo swojej wrodzonej niewiary w słowa innych, skłonny jestem uwierzyć w taki stan rzeczy – nie mam bowiem (niestety) ani złudzeń, że stać chłopaków na coś równie wielkiego (choć „Wanderer On The Edge Of Time” bezsprzecznie pokazał klasę), ani wątpliwości co do faktu, że „kiedyś to było lepiej, wnusiu” (vide ostatnie dziecko Wolf Spider pt. „Feniks”, ale o tym następną razą). A było tak: wraz ze zmianą wokalisty i pojawieniem się Douga, zespół zboczył w nieco bardziej melodyjne klimaty. Swoistą szorstkość i pogmatwanie zajęły struktury bardziej user-friendly, ale także bardziej post-thrashowe (w dobrym tego terminu rozumieniu). W związku z tym, muzyka nabrała w wielu utworach bardzo repetywnego i transowego charakteru, a jeśli dodać do tego wysokie, śpiewano-skandowane wokale, wyjdzie miks dość niespotykany – jakże jednak zajebisty. Miks zakrzywiający czasoprzestrzeń; przekonać możecie się sami, gdy, ni stąd ni zowąd, słyszycie pierwszy na płycie kawałek, ponownie.

Muzyka ewoluowała w stronę większej przebojowości, nie tracąc nic ze swojego charakteru ani złożoności. Wszystko rozbija się o nieco inne rozmieszczenie akcentów, nowego wokalistę, który przemycił kilka charakterystycznych dla siebie patentów i większy udział melodii w dziele zniszczenia receptorów. Tym bardziej, że melodie te do słodkich nie należą i fanów poweru nie ucieszą. O warsztacie nie ma co pisać, bo że światowej klasy rozumie się samo przez się i, choćby, z poprzednich recenzji. Jest więc tak samo jak na „The Principle of Doubt” tylko lepiej. I tym sposobem mamy drugą „dychę” pod rząd.

ocena: 10/10
deaf


The Mekong Delta career can be split into three periods: 1987-1989; 1990-1994, and 2007-until the present day. Ralph Hubert has kept the level high all these years always finding capable musicians to realise his ultimately complex, classical-haunted schizophrenic visions. He teamed up with the Living Death guitarists during the first period, and their clinical surreal, hallucinogenic shreds made the band a name quickly as suppliers of elaborate, not very accessible at times, but ultimately intelligent progressive thrash. By 1990 the two axemen had to go, and were replaced by just one, the unknown at the time guitar wizard Uwe Baltrusch who brought a warmer, more flexible technical thrash template which worked better alongside the growing classical infatuations of Hubert. After the reformation in the new millennium the man hasn’t been able to keep a steady line-up having worked so far with musicians from Scanner, Helloween, Theory in Practice, Annihilator, etc., and consequently this is the most versatile period from the band’s history with a wider range of influences and styles. Please note that “Pictures at an Exhibition”, the 1997 instalment, hasn’t been included in any of the periods due to its non-metal, too classical-immersed nature.

Although my personal favourite from the band’s discography is “Kaleidoscope”, and I consider the second period the finest one, I haven’t been able to find too many metalheads to share my predilections. In 80% of the cases the preferences go towards the first period with “The Music of Erich Zann” and “The Principle of Doubt” splitting the fans’ opinions as to which the guys’ finest hour is. There’s a lot of greatness emitting from those two, there’s absolutely no doubt about that, but I have always found the Living Death lads’ pyrotechnics way too dry and sterile, making the more elaborate sections even more difficult to decipher, devoid of soul and empathy (who needs these on a metal album, man?! get a grip!). With the arrival of Baltrusch the guitar sound acquired a more volatile, easier to mould, character which made the “thrash vs. classical music” hybridization way more coherent and smoother, and needless to add more melodic. Actually, the guy was already a part of the line-up on “The Principle of Doubt”, but his role on that one was only restricted to providing the leads. On the album reviewed here he handles all the guitarisms, and his talent is on full display all over.

Another important new addition to the line-up was the singer Doug Lee, a former “siren” of the American progressive power metallers Siren. Hubert produced their only foray, and decided that Lee would do no wrong to replace Wolfgang Borgmann, the latter another debatable departure provided that his wailing eccentric, hygienically clean vocals were an indelible part of the band’s early exploits. Hubert was obviously doing a major renovation of the interior… but was all that hassle for the better?

After a short quiet introduction, with which the conceptual part, comprising eight movements, of the album commences the band erupt on “Eruption” with frantic, bouncy thrashing which becomes wilder with time reaching headbanging proportions with ease, with outlandish gallops taking over making this very short instrumental a most eventful riff-fest. “Beyond the Gates” follows suit, and Lee comes to the fore with his exemplary dramatic antics sounding way more proficient than Borgmann’s shaky falcetto. The intricate thrashorama is absolutely compelling with steel sharp riffage cutting deep burrows into the listener’s brain as the latter won’t have much time to absorb everything here despite the several more orthodox passages provided; a stupendous technical thrash stroke splits the song into two this particular passage a pivotal moment on the whole conceptual etude. “Outburst” is exactly that, an outburst, 1.5-min of hectic schizoid riffing which flows into “Days of Betrayal”, the definitive progressive thrashterpiece with frenetic fast-paced crescendos and eclectic dramatic build-ups during the supposed chorus the latter handled by Lee in the most quirky semi-dispassionate manner.

“Restless” is exactly that, one min or restless semi-lead driven thrash which gives way to “Sanctuary”, a brilliant surreal piece with creepy mid-paced hypnotic riffs, more ambitious progressive vortexes and a more dynamic exit all this contained within mere 3-min. “Finale” is naturally the end of the “Dances of Death” opera, a magnificent speed/thrashy tractate with busy jumpy interruptions and some truly memorable riff applications. “Transgressor” is minimalistic technical thrash with superb more laid-back atmospherics Lee outstanding behind the mike producing mesmerizing highly dramatic vocal pirouettes. “True Believers” is another delight for all technical and progressive metal lovers with Hubert taking the upper hand with great vociferous bass support, with twisted leads surrounding the engaging rifforamas which alternate hard-hitting dashes with pacifying “idylls” the meanly spat chorus (“I don’t believe you… parasite”) another highlight on this exemplary multi-faceted composition. But that’s not all as the centrepiece of the whole opus is yet to be savoured, “Night on a Bare Mountain”, an 11-min interpretation of the Modest Mussorgski’s symphony of the same title, a supreme blend of classical structuring and aggressive thrashing shreds, one of the ten best instrumentals in the annals of metal, the main motif alone deserving the price of admission with its infectious melodic roller-coaster vibe; Hubert makes himself heard with several authoritative bassy excursions which usually appear after a hyper-active riff-salad all the way to the meditative balladic finale.

Dancing with Death has never been a more tantalizing proposition the band sounding as convincing as ever after the considerable cosmetic alterations. On “The Principle of Doubt” they really found their stride, and apprehension was definitely up in the air the fanbase worried about future recordings with regards to the line-up changes made, also considering the transformational process that was starting worldwide with new sounds entering the audience’s consciousness. It didn’t take long for the latter to see that that it would be business as usual in the Mekong Delta camp, and that the classic progressive thrash panorama would proceed on full-throttle arguably even sounding more appealing with the new musicians involved. If music-wise the shift wasn’t that radical, Baltrusch’s shreds not drastically different from the ones of his colleagues, in the vocal department Lee definitely sounded more convincing than Borgmann, and not much less bizarre truth be told, especially on those high-strung dramatic, semi-quarrelsome tirades. A great new beginning for everyone involved this effort was which had a most worthy follow-up in the form of the mentioned “Kaleidoscope”, the climax in the band’s career. The seeds for that opus’ grandeur were planted by this album here Hubert dexterously conducting all the performers in one flawlessly arranged, thrashy/classical danse macabre.

Bayern


It is technical thrash metal combined with classical music, how could this be any bad?
After having a very positive experience with Mekong Delta on their fifth album, Kaleidoscope, I have decided to increase the ammount of albums by them that I own, acquiring at one time Dances of Death, Vision Fugitives, Lurking Fear and Wanderer at the Edge of Time and I must say that, with the exception of Lurking Fear, all those releases were nearly incredable, quality-wise, but Dances of Death (and Other Walking Shadows) had a really special quality: in spite of still having separate instances where they played (progressive) thrash metal and then metal arrangements for classical pieces (the second half of the album), they were able to step-up their business and come up with an epic that managed to merge those two parts of their music.

There is no denying that the epic is the center piece of Dances of Death. It accounts for about half of the album's length, it showcases the band full potential al both players and composers, it is able to take you through all sorts of places without straying from the main lines or ideas of the song (the song is really varied and eclectic) and also manages to do all that without wasting your tame with unecessary or unwanted wankery. As I mentioned in my previous Meking Delta review, the band's vocalist isn't very much likeble, but in the suite he does not gets in the way too much, so I can say that he at least does not gets in your way when listening to the song.

The next songs, Transgressor and True Believers, are two thrash songs with an approach that, although more straighforward than that of the suite, don't lag behind regarding the progressive factor. Furthermore, they are so well written that not only the vocalist does not get in the way, but his awkward voice actually fits in these compositions, to my utter surprise.

The final two tracks are instrumental thrash metal adaptations or arrangements of classical compositions, both being originally written by Modest Mussorgsky during the mid 19th century. The first of them is Night on a Bald (or Bare) Mountain and the second is the bonus track The Gnome, part of Modest's piece Pictures at an Exihibition. The adaptations the band does of both songs is very convincing and solid, showing indeed how skilled are these guys.

A comparison that I believe is appropriate to be made here is between them and Emerson, Lake and Palmer. Despite the fact that one of them played rock and the other plays heavy metal, both have similar approaches to their respective style of music, infusing considerable amounts of classical music (with a particular, if not exclusive, preference to the romantic period) in each band's style.

So far in my exploration of Mekong Delta's discography, Dances of Death (and Other Walking Shadows) has proved to be the band's most accomplished album. The compositional habilities of the band are on the top and the pieces they have chosen to cover in the end of the album also prove to be among the highest degree of quality. That is the biggest quality of this album, the compositions: it has very intelligently written and diversed or varied songs. Besides not having a single bad part, the album present us the best moment of a band that pushed the boundaries of thrash metal music, inventing yet another path beyond that initiated by acts like Watchtower and Voivod, what makes them deserving of the best rating.

CCVP



..::TRACK-LIST::..

I. Dances Of Death:
1. Introduction 01:11
2. Eruption 01:34
3. Beyond the Gates 04:52
4. Outburst 01:19
5. Days Of Betrayal 04:14
6. Restless 00:53
7. Sanctuary 03:00
8. Finale 02:06

II. Transgressor 03:17
III. True Believers 05:25
IV. Night On A Bare Mountain 10:24



..::OBSADA::..

Bass, Acoustic Guitar - Björn Eklund
Drums - Gordon Perkins
Guitar [Guitars] - Uwe B.
Vocals - Doug Lee



https://www.youtube.com/watch?v=a4IADCr5Cw4


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