...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::TRACK-LIST::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::OBSADA::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ta muzyka jest ścieżką dźwiękową do eposu, którego Lovecraft nigdy nie napisał...


Mitochondrion's 2006 demo available on vinyl for the first time ever and re-issued on CD!


Mitochondrion is another Canadian group who could not possibly be from any other country. The style of technical death metal they play is completely Vinlandic in nature; there's no way at all to mistake it for anywhere else. The influences here are completely clear: Kataklysm, Martyr, Gorguts, and other legendary Canadian death metal bands. And best of all, this is really good, and even, though I hate to use the word, quite unique.

This is a band entirely based around atmosphere via performance. Mitochondrion appears to be going for the sort of feel that bands like Internal Suffering and Origin strive for: a sort of abstract, pummeling chaos. The cover art is a fantastic depiction of what's going on in this EP: ordinary humans gazing into the gaping maw of some Lovecraftian abyss, completely beyond the comprehension of mere mortals. The music embodies a spirit of true, inexorable entropy that you would hear in a band like Internal Suffering. Riffing is primarily chainsaw tremolo, playing surreal, atonal melodies in long, black metal derived streams of notes. The riffs seem almost to be composed like 'From Wisdom To Hate'-era Gorguts, with a combination of normal songwriting and a sort of experimental, abstract edge. Drumming is death metal based, but has, like many Canadian artists, a militaristic edge, along with some strange cymbal play reminding one of Cryptopsy. Vocals are actually the closest to Sylvain Houde that I've heard outside of early Kataklysm: the same seemingly multitracked roars and screams are used to great effect.

The title track expresses the band's aim perfectly. Packed with epic, swirling tremolo riffing and thundering drum performance under guttural vocals, it's positively vicious. I like the production a lot: the vocals have a good deal of reverb-induced acoustic space, heightening the otherworldliness of the music here. Really, just listen to the riffs: they sound like they were teleported from the Xen world of computer game 'Half-Life'. It combines the crooked, sinister construction of early Morbid Angel with the spaciness and atonality of Martyr to create a set of unbelievably dark and inherently demented riffs. This music is the soundtrack to the epic that Lovecraft never wrote, only replacing the slow buildup and elaborate descriptions with pure, unbridled chaos. And yet the music itself is not very chaotic, at least not in the Internal Suffering way: despite how strange and deformed it all is, it's unfailingly coherent and surprisingly easy to grasp on the first listen. It's not catchy: far from it. But it does make sense and stay memorable due to all the twists and turns in each song.

I consider this to be Wormed covering Kataklysm, minus some of the more ridiculous elements of brutality. This exchanges quantum physics for a sort of time-traveling shamanism. It's mystical music: not in the black metal way of nature and dark forces, but in the very entropy and unbelievably chaotic yet real nature of the universe itself. If music is measured by how well it transports you to another world, this would certainly be nearing the level of finest death metal release ever made. With other considerations taken into account, it's merely very, very good.

Noktorn



..::TRACK-LIST::..

1. Ever Scornful Acquiescence 02:54
2. Through Cosmic Gaze 07:56
3. Pestilent Rebirth 05:23
4. Venomous Foresight 03:46
5. Eternal Contempt of Man 06:14
6. In the Reign of Tusk 05:50



..::OBSADA::..

Shawn Haché - Vocals
Nick Yanchuk - Vocals, Guitars
Nick Gibas - Bass
Karl Godard - Drums



https://www.youtube.com/watch?v=L5VkOrFzEVk


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

..::INFO::..

---------------------------------------------------------------------
Chicago - Live In Japan (2 CD)
---------------------------------------------------------------------

Artist...............: Chicago
Album................: Live In Japan
Genre................: Classic Rock
Source...............: CD
Year.................: 1981/1996
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 58 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Chicago Records

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

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

1. Chicago - Dialogue (Part I & II) [06:55]
2. Chicago - A Hit By Varese [04:43]
3. Chicago - Lowdown (Japanese Version) [04:14]
4. Chicago - State Of The Union [08:14]
5. Chicago - Saturday In The Park [04:19]
6. Chicago - Make Me Smile [03:17]
7. Chicago - So Much To Say, So Much To Give [00:59]
8. Chicago - Anxiety's Moment [01:02]
9. Chicago - West Virginia Fantasies [01:32]
10. Chicago - Colour My World [03:22]
11. Chicago - To Be Free [02:17]
12. Chicago - Now More Than Ever [01:36]
13. Chicago - Beginnings [06:36]
14. Chicago - Mississippi Delta City Blues [05:50]

Playing Time.........: 55:02
Total Size...........: 331,60 MB

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

1. Chicago - A Song For Richard And His Friends [07:54]
2. Chicago - Does Anybody Really Know What Time It Is? [06:15]
3. Chicago - Does Anybody Really Know What Time It Is? [03:53]
4. Chicago - Questions 67 & 68 [04:51]
5. Chicago - 25 Or 6 To 4 [09:14]
6. Chicago - I'm A Man [10:43]
7. Chicago - Free [06:29]

Playing Time.........: 49:23
Total Size...........: 300,46 MB

..::INFO::..

---------------------------------------------------------------------
Black Sabbath - Paranoid
---------------------------------------------------------------------

Artist...............: Black Sabbath
Album................: Paranoid
Genre................: Hard Rock
Source...............: CD
Year.................: 1970 - 1990
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 54 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Tonpress

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

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

1. Black Sabbath - War Pigs [07:55]
2. Black Sabbath - Paranoid [02:49]
3. Black Sabbath - Planet Caravan [04:25]
4. Black Sabbath - Iron Man [05:55]
5. Black Sabbath - Electric Funeral [04:49]
6. Black Sabbath - Hand Of Doom [07:07]
7. Black Sabbath - Rat Salad [02:30]
8. Black Sabbath - Fairies Wear Boots [06:14]
9. Black Sabbath - Wicked World (Live) (Bonus) [18:52]

Playing Time.........: 01:00:40
Total Size...........: 340,27 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ta muzyka jest ścieżką dźwiękową do eposu, którego Lovecraft nigdy nie napisał...


Mitochondrion's 2006 demo available on vinyl for the first time ever and re-issued on CD!


Mitochondrion is another Canadian group who could not possibly be from any other country. The style of technical death metal they play is completely Vinlandic in nature; there's no way at all to mistake it for anywhere else. The influences here are completely clear: Kataklysm, Martyr, Gorguts, and other legendary Canadian death metal bands. And best of all, this is really good, and even, though I hate to use the word, quite unique.

This is a band entirely based around atmosphere via performance. Mitochondrion appears to be going for the sort of feel that bands like Internal Suffering and Origin strive for: a sort of abstract, pummeling chaos. The cover art is a fantastic depiction of what's going on in this EP: ordinary humans gazing into the gaping maw of some Lovecraftian abyss, completely beyond the comprehension of mere mortals. The music embodies a spirit of true, inexorable entropy that you would hear in a band like Internal Suffering. Riffing is primarily chainsaw tremolo, playing surreal, atonal melodies in long, black metal derived streams of notes. The riffs seem almost to be composed like 'From Wisdom To Hate'-era Gorguts, with a combination of normal songwriting and a sort of experimental, abstract edge. Drumming is death metal based, but has, like many Canadian artists, a militaristic edge, along with some strange cymbal play reminding one of Cryptopsy. Vocals are actually the closest to Sylvain Houde that I've heard outside of early Kataklysm: the same seemingly multitracked roars and screams are used to great effect.

The title track expresses the band's aim perfectly. Packed with epic, swirling tremolo riffing and thundering drum performance under guttural vocals, it's positively vicious. I like the production a lot: the vocals have a good deal of reverb-induced acoustic space, heightening the otherworldliness of the music here. Really, just listen to the riffs: they sound like they were teleported from the Xen world of computer game 'Half-Life'. It combines the crooked, sinister construction of early Morbid Angel with the spaciness and atonality of Martyr to create a set of unbelievably dark and inherently demented riffs. This music is the soundtrack to the epic that Lovecraft never wrote, only replacing the slow buildup and elaborate descriptions with pure, unbridled chaos. And yet the music itself is not very chaotic, at least not in the Internal Suffering way: despite how strange and deformed it all is, it's unfailingly coherent and surprisingly easy to grasp on the first listen. It's not catchy: far from it. But it does make sense and stay memorable due to all the twists and turns in each song.

I consider this to be Wormed covering Kataklysm, minus some of the more ridiculous elements of brutality. This exchanges quantum physics for a sort of time-traveling shamanism. It's mystical music: not in the black metal way of nature and dark forces, but in the very entropy and unbelievably chaotic yet real nature of the universe itself. If music is measured by how well it transports you to another world, this would certainly be nearing the level of finest death metal release ever made. With other considerations taken into account, it's merely very, very good.

Noktorn



..::TRACK-LIST::..

1. Ever Scornful Acquiescence 02:54
2. Through Cosmic Gaze 07:56
3. Pestilent Rebirth 05:23
4. Venomous Foresight 03:46
5. Eternal Contempt of Man 06:14
6. In the Reign of Tusk 05:50



..::OBSADA::..

Shawn Haché - Vocals
Nick Yanchuk - Vocals, Guitars
Nick Gibas - Bass
Karl Godard - Drums



https://www.youtube.com/watch?v=L5VkOrFzEVk


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



A-Z to mistrzowie w swoim fachu!!!



..::TRACK-LIST::..

1. Fire Away 04:37
2. Running in Place 04:58
3. Nothing Is Over 04:18
4. A Wordless Prison 06:04
5. Reaching Out 04:16
6. The Remedy 05:06
7. I Am Numb 04:03
8. This Chaotic Symphony 05:10
9. Learning to Fly 04:38
10. Now I Walk Away 05:39



..::OBSADA::..

Ray Alder - Lead and Backing Vocals
Philip Bynoe - Bass Guitar
Nick Van Dyk - Guitars
Simone Mularoni - Lead Guitars
Jimmy Waldo - Keyboards
Mark Zonder - Drums




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



A-Z to mistrzowie w swoim fachu!!!



..::TRACK-LIST::..

1. Fire Away 04:37
2. Running in Place 04:58
3. Nothing Is Over 04:18
4. A Wordless Prison 06:04
5. Reaching Out 04:16
6. The Remedy 05:06
7. I Am Numb 04:03
8. This Chaotic Symphony 05:10
9. Learning to Fly 04:38
10. Now I Walk Away 05:39



..::OBSADA::..

Ray Alder - Lead and Backing Vocals
Philip Bynoe - Bass Guitar
Nick Van Dyk - Guitars
Simone Mularoni - Lead Guitars
Jimmy Waldo - Keyboards
Mark Zonder - Drums




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wysokiej klasy teksty, doskonałe umiejętności muzyczne i świetne brzmienie zespołu, biorąc pod uwagę wszystkie instrumenty, na których gra Justin. Bardzo podoba mi się ten album, podobnie jak ich pierwszy. Jeśli chcesz posłuchać albumu o mrocznym klimacie, który oferuje świetną muzykę i jesteś w stanie poświęcić mu trochę czasu, to może być wydawnictwo dla Ciebie...



..::TRACK-LIST::..

1. Going Home 04:57
2. Ruined By Them 04:22
3. Blue Bird 04:42
4. All I Am 04:50
5. In Obscura 04:39
6. Blueprint 04:08
7. Shadowbox(ers) 04:01
8. Gently Bow Out 04:15
9. She's Wild 04:38
10. Fear No Ghosts 05:47



..::OBSADA::..

All Instruments - Justin Greaves
Voices - Belinda Kordic




https://www.youtube.com/watch?v=0yWowFZB7WM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wysokiej klasy teksty, doskonałe umiejętności muzyczne i świetne brzmienie zespołu, biorąc pod uwagę wszystkie instrumenty, na których gra Justin. Bardzo podoba mi się ten album, podobnie jak ich pierwszy. Jeśli chcesz posłuchać albumu o mrocznym klimacie, który oferuje świetną muzykę i jesteś w stanie poświęcić mu trochę czasu, to może być wydawnictwo dla Ciebie...



..::TRACK-LIST::..

1. Going Home 04:57
2. Ruined By Them 04:22
3. Blue Bird 04:42
4. All I Am 04:50
5. In Obscura 04:39
6. Blueprint 04:08
7. Shadowbox(ers) 04:01
8. Gently Bow Out 04:15
9. She's Wild 04:38
10. Fear No Ghosts 05:47



..::OBSADA::..

All Instruments - Justin Greaves
Voices - Belinda Kordic




https://www.youtube.com/watch?v=0yWowFZB7WM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Hellbastard powstał w 1984 roku w Wielkiej Brytanii. Historia tego zespołu jest w chuj długa i pogmatwana. Wystarczy tylko wspomnieć, że członkowie zespołu w wyniku różnych kłótni i różnicy zdań odchodzili i zakładali własne zespoły o podobnych nazwach, wydawali płyty i ponownie się godzili.

To tak w dużym skrócie. W 1988 ukazał się debiutancki album Heading for Internal Darkness, który uznawany jest za jeden z kamieni milowych crust punka. Album ten poprzedziły dwie taśmy demo, z których ta pierwsza Ripper Crust uznawana jest za matkę gatunku Crust, od której zaczerpnięto nazwę.

W 1989 roku zespół podpisał papiery z Earache, która to wytwórnia w 1990 roku wydaje nieziemski Natural Order, który mimo, że nie jest tak wściekły jak debiut to zwrócił uwagę sceny zajebistym wykorzystaniem gitary rytmicznej. Płyta to jak i debiut to absolutny mus dla fanów Amebix, Discharge, Sacrilege.

Od tego momentu w Hellbastard następuje rozłam i zespół się rozpada na kilka innych grup. Powrócili w 2007 roku by dwa lata później nasza Selfmadegod wypuściła trzeci album, który już znacznie odbiegał od dwóch poprzednich a muzyka to bardziej taki thrash metal albo crossover. W 2015 wyszedł czwarty i jak na razie ostatni album Feral, który mimo zajebistej okładki muzycznie prezentował się średnio dalej będąc gatunkowo w muzyce thrash.

Hajasz



..::TRACK-LIST::..

CD 2 - Heading For Eternal Darkness:
1. We Had Evidence
2. Civilised?
3. Nazis Killed
4. Death Camp
5. Massacre.....
6. Heading For Internal Darkness
7. The Pylons
8. Afrikkan Beggar
9. Rise Of Crust (Inst.)

Bonus Tracks:
10. Into The Crypts Of Rays (Rehearsal 1988)
11. Return To The Eve (Rehearsal 1988)
12. Aggressor (Rehearsal 1988)
13. Aggressor (Brixton 1988)
14. Die By The Sword (Rehearsal 1988)
15. Die By The Sword (Birmingham 1988)



..::OBSADA::..

Vocals - Wendy V. Gill
Bass, Backing Vocals [Backing Vox] - Scotty
Drums, Percussion - Phil
Guitar [Guitars], Vocals, Music By [All Music], Lyrics By, Layout [Insert, Label, Back Cover, Sticker, Logo] - Scruff

Synth - Andy Tillison



https://www.youtube.com/watch?v=uOFlr3zwQNQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Hellbastard powstał w 1984 roku w Wielkiej Brytanii. Historia tego zespołu jest w chuj długa i pogmatwana. Wystarczy tylko wspomnieć, że członkowie zespołu w wyniku różnych kłótni i różnicy zdań odchodzili i zakładali własne zespoły o podobnych nazwach, wydawali płyty i ponownie się godzili.

To tak w dużym skrócie. W 1988 ukazał się debiutancki album Heading for Internal Darkness, który uznawany jest za jeden z kamieni milowych crust punka. Album ten poprzedziły dwie taśmy demo, z których ta pierwsza Ripper Crust uznawana jest za matkę gatunku Crust, od której zaczerpnięto nazwę.

W 1989 roku zespół podpisał papiery z Earache, która to wytwórnia w 1990 roku wydaje nieziemski Natural Order, który mimo, że nie jest tak wściekły jak debiut to zwrócił uwagę sceny zajebistym wykorzystaniem gitary rytmicznej. Płyta to jak i debiut to absolutny mus dla fanów Amebix, Discharge, Sacrilege.

Od tego momentu w Hellbastard następuje rozłam i zespół się rozpada na kilka innych grup. Powrócili w 2007 roku by dwa lata później nasza Selfmadegod wypuściła trzeci album, który już znacznie odbiegał od dwóch poprzednich a muzyka to bardziej taki thrash metal albo crossover. W 2015 wyszedł czwarty i jak na razie ostatni album Feral, który mimo zajebistej okładki muzycznie prezentował się średnio dalej będąc gatunkowo w muzyce thrash.

Hajasz



..::TRACK-LIST::..

CD 2 - Heading For Eternal Darkness:
1. We Had Evidence
2. Civilised?
3. Nazis Killed
4. Death Camp
5. Massacre.....
6. Heading For Internal Darkness
7. The Pylons
8. Afrikkan Beggar
9. Rise Of Crust (Inst.)

Bonus Tracks:
10. Into The Crypts Of Rays (Rehearsal 1988)
11. Return To The Eve (Rehearsal 1988)
12. Aggressor (Rehearsal 1988)
13. Aggressor (Brixton 1988)
14. Die By The Sword (Rehearsal 1988)
15. Die By The Sword (Birmingham 1988)



..::OBSADA::..

Vocals - Wendy V. Gill
Bass, Backing Vocals [Backing Vox] - Scotty
Drums, Percussion - Phil
Guitar [Guitars], Vocals, Music By [All Music], Lyrics By, Layout [Insert, Label, Back Cover, Sticker, Logo] - Scruff

Synth - Andy Tillison



https://www.youtube.com/watch?v=uOFlr3zwQNQ



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

..::INFO::..

---------------------------------------------------------------------
Budgie - The Best of Budgie
---------------------------------------------------------------------

Artist...............: Budgie
Album................: The Best of Budgie
Genre................: Hard Rock
Source...............: CD
Year.................: 1997
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 67 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Spectrum Music

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

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

1. Budgie - Breadfan [06:06]
2. Budgie - In the Grip of a Tyrefitter's Hand [06:23]
3. Budgie - I Ain't No Mountain [03:33]
4. Budgie - In for the Kill [06:25]
5. Budgie - I Can't See My Feelings [05:51]
6. Budgie - Napoleon Bona, Pt. 1-2 [07:15]
7. Budgie - Parents [10:12]
8. Budgie - Hammer and Tongs [06:53]
9. Budgie - Breaking All the House Rules [07:24]
10. Budgie - Zoom Club [09:52]

Playing Time.........: 01:09:59
Total Size...........: 471,12 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI




Recorded Live at Birch Hill Night Club - Old Bridge, NJ on December 14th 1996.

CD 1:
1. A Change Of Seasons, Pt. I 3:48
2. A Change Of Seasons, Pt. II 3:04
3. The Mirror 6:50
4. Lie 6:47
5. Burning My Soul 8:22
6. Another Hand / The Killing Hand 13:24
7. Just Let Me Breathe 5:16
8. Caught In A Web 6:19
9. Peruvian Skies 6:39
10. Pull Me Under 7:21

CD 2:
1. Lines In The Sand 14:13
2. Take Away The Pain 6:50
3. A Change Of Seasons, Pt. IV 4:46
4. Ytse Jam 6:10
5. Learning To Live 11:42
6. A Change Of Seasons, Pt. VII 3:12
7. Metropolis 12:33




Vocals - James LaBrie, John Petrucci, Mike Portnoy
Guitar - John Petrucci
Keyboards - Derek Sherinian
Bass - John Myung
Drums - Mike Portnoy



https://www.youtube.com/watch?v=z25nGjaQrzs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::TRACK-LIST::..

Recorded Live at Birch Hill Night Club - Old Bridge, NJ on December 14th 1996.

CD 1:
1. A Change Of Seasons, Pt. I 3:48
2. A Change Of Seasons, Pt. II 3:04
3. The Mirror 6:50
4. Lie 6:47
5. Burning My Soul 8:22
6. Another Hand / The Killing Hand 13:24
7. Just Let Me Breathe 5:16
8. Caught In A Web 6:19
9. Peruvian Skies 6:39
10. Pull Me Under 7:21

CD 2:
1. Lines In The Sand 14:13
2. Take Away The Pain 6:50
3. A Change Of Seasons, Pt. IV 4:46
4. Ytse Jam 6:10
5. Learning To Live 11:42
6. A Change Of Seasons, Pt. VII 3:12
7. Metropolis 12:33



..::OBSADA::..

Vocals - James LaBrie, John Petrucci, Mike Portnoy
Guitar - John Petrucci
Keyboards - Derek Sherinian
Bass - John Myung
Drums - Mike Portnoy



https://www.youtube.com/watch?v=z25nGjaQrzs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Michał Urbaniak to jedna z największych gwiazd jazzu. Skrzypek, saksofonista, kompozytor, aranżer, twórca młodych talentów.

Od 1973 mieszka w Nowym Jorku. Michał Urbaniak stał się światowej sławy gwiazdą jazzu po nagraniu płyty 'TUTU' z największym - Milesem Davisem.

Wielokrotnie zapraszany do współpracy z tak znanymi mistrzami jazzu jak: Quincy Jones, Billy Cobham, Stephane Grappelli, Joe Zawinul, Herbie Hancock, Wayne Shorter, Kenny Garrett, George Benson, Marcus Miller, Jaco Pastorius, Toots Thielmans, Kenny Kirkland, Larry Coryell, Lennie White, Alphonze Mouzon.



..::TRACK-LIST::..

1. Yeah (Horace Silver) 5:57
2. Sugar (Stanley Turrentine) 6:23
3. Pretext (Michal Urbaniak) 2:51
4. House Of Jade (Wayne Shorter) 6:29
5. Silver Serenade (Horace Silver) 4:28
6. Cookin' At The Continental (Horace Silver) 4:48
7. Kasia (Michal Urbaniak) 5:44
8. Deadline (Michal Urbaniak) 5:57

Recorded December 17 & 18, 1980.



..::OBSADA::..

Bass - Buster Williams
Drums - Roy Haynes
Guitar - Ted Dunbar
Piano - Kenny Barron
Violin - Michal Urbaniak




https://www.youtube.com/watch?v=PT2-4EncZDk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Michał Urbaniak to jedna z największych gwiazd jazzu. Skrzypek, saksofonista, kompozytor, aranżer, twórca młodych talentów.

Od 1973 mieszka w Nowym Jorku. Michał Urbaniak stał się światowej sławy gwiazdą jazzu po nagraniu płyty 'TUTU' z największym - Milesem Davisem.

Wielokrotnie zapraszany do współpracy z tak znanymi mistrzami jazzu jak: Quincy Jones, Billy Cobham, Stephane Grappelli, Joe Zawinul, Herbie Hancock, Wayne Shorter, Kenny Garrett, George Benson, Marcus Miller, Jaco Pastorius, Toots Thielmans, Kenny Kirkland, Larry Coryell, Lennie White, Alphonze Mouzon.



..::TRACK-LIST::..

1. Yeah (Horace Silver) 5:57
2. Sugar (Stanley Turrentine) 6:23
3. Pretext (Michal Urbaniak) 2:51
4. House Of Jade (Wayne Shorter) 6:29
5. Silver Serenade (Horace Silver) 4:28
6. Cookin' At The Continental (Horace Silver) 4:48
7. Kasia (Michal Urbaniak) 5:44
8. Deadline (Michal Urbaniak) 5:57

Recorded December 17 & 18, 1980.



..::OBSADA::..

Bass - Buster Williams
Drums - Roy Haynes
Guitar - Ted Dunbar
Piano - Kenny Barron
Violin - Michal Urbaniak




https://www.youtube.com/watch?v=PT2-4EncZDk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Część z was zapewne pamięta ten niemiecki zespół, który w swoim czasie był mocnym punktem tamtejszej death metalowej sceny. Niestety niedługo po wydaniu „Dying” i paru koncertach o Anasarca słuch zaginął. Kapela zawisła w próżni i trwała w tym stanie do 2011 roku, kiedy to głównodowodzący Michael Dormann przystąpił do prac nad nowym materiałem i powoli zaczął się rozglądać za kolegami do składu. Na rezultaty w postaci demówki trzeba było poczekać aż do 2015, jednak później poszło już chyba z górki, bo niedawno Survival Mode trafił pod strzechy. Zespół powrócił w pełnej krasie, choć tak naprawdę po nowym krążku w ogóle nie słychać, żeby kiedykolwiek gdzieś odchodził, a już zwłaszcza na kilkanaście lat. Na czwartym albumie Anasarca mamy do czynienia z bezpośrednią i jakże logiczną kontynuacją tematów z „Dying” – muzyka jest zatem szybka, gwałtowna i stosunkowo nieskomplikowana.
Powiewu nowoczesności nie odnotowałem. Krokiem naprzód, a przynajmniej najbardziej odczuwalną różnicą między Survival Mode a poprzednikiem jest ogólny stopień chwytliwości. Wcześniej twórczość Niemców była nieco jednowymiarowa i nastawiona przede wszystkim na atak. Obecnie grają odrobinę mniej ekstremalnie, ale za to z większym wyczuciem; nie boją się już zwolnić tempa ani wpleść tu i ówdzie jakiegoś melodyjnego riffu. Wyszło im to zdecydowanie na dobre, bo w utworach jest teraz więcej punktów zaczepienia, wybijających się fraz (także refrenów) i przede wszystkim przestrzeni, dzięki czemu mamy tu dziewięć osobnych kawałków, nie zaś 35-minutowy festiwal blastów. Zaznaczam przy tym, że zespół wcale nie stracił na brutalności tyle, ile może wynikać z mojego opisu – Anasarca wciąż prezentuje tradycyjnie jebiący metal śmierci, tyle że bardziej urozmaicony niż w przeszłości. I bardziej cannibalistyczny, bo nie da się ukryć, że spoooro świdrujących riffów (zwłaszcza tych w wolniejszych partiach) mocno zalatuje twórczością Alexa Webstera i spółki. Mnie to nie przeszkadza, bo Niemcy umiejętnie wymieszali je z typowym dla siebie napieprzaniem na wysokich obrotach, a sam materiał zyskał w ten sposób na świeżości. Wobec powyższego powrót Anasarca odbieram bardzo pozytywnie – panowie potrafili zaskoczyć, a ja na Survival Mode dostałem więcej, niż oczekiwałem. Na koniec warto wspomnieć, że premierowy materiał uzupełniono aż pięcioma bonusami, wśród których znajdują się covery Obituary i Vomiting Corpses.

demo



..::TRACK-LIST::..

1. Drinking Blood 3:38
2. Survival Mode (Guest Vocals-Kam Lee) 5:13
3. Cannibal 3:36
4. Blue John 3:31
5. Touching The Void 4:26
6. 571 3:33
7. Pacific Dread 3:21
8. The Donner Party 3:36
9. Endurance 4:41

Bonus:
10. The Weird Ways 3:35
11. Scorn 3:36
12. Godly Beings (Obituary cover) 2:27
13. Paralyzed 3:16
14. Dogmas Ignored (Vomiting Corpses cover) 3:17

Tracks 10 and 11 are re-recorded versions from the 'Godmachine' album.



..::OBSADA::..

Drums - Dirk Janssen
Guitars - Carsten Geerlings, Steffen Parth
Bass, Vocals - Mike



https://www.youtube.com/watch?v=jzK4iTf6QvA


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Część z was zapewne pamięta ten niemiecki zespół, który w swoim czasie był mocnym punktem tamtejszej death metalowej sceny. Niestety niedługo po wydaniu „Dying” i paru koncertach o Anasarca słuch zaginął. Kapela zawisła w próżni i trwała w tym stanie do 2011 roku, kiedy to głównodowodzący Michael Dormann przystąpił do prac nad nowym materiałem i powoli zaczął się rozglądać za kolegami do składu. Na rezultaty w postaci demówki trzeba było poczekać aż do 2015, jednak później poszło już chyba z górki, bo niedawno Survival Mode trafił pod strzechy. Zespół powrócił w pełnej krasie, choć tak naprawdę po nowym krążku w ogóle nie słychać, żeby kiedykolwiek gdzieś odchodził, a już zwłaszcza na kilkanaście lat. Na czwartym albumie Anasarca mamy do czynienia z bezpośrednią i jakże logiczną kontynuacją tematów z „Dying” – muzyka jest zatem szybka, gwałtowna i stosunkowo nieskomplikowana.
Powiewu nowoczesności nie odnotowałem. Krokiem naprzód, a przynajmniej najbardziej odczuwalną różnicą między Survival Mode a poprzednikiem jest ogólny stopień chwytliwości. Wcześniej twórczość Niemców była nieco jednowymiarowa i nastawiona przede wszystkim na atak. Obecnie grają odrobinę mniej ekstremalnie, ale za to z większym wyczuciem; nie boją się już zwolnić tempa ani wpleść tu i ówdzie jakiegoś melodyjnego riffu. Wyszło im to zdecydowanie na dobre, bo w utworach jest teraz więcej punktów zaczepienia, wybijających się fraz (także refrenów) i przede wszystkim przestrzeni, dzięki czemu mamy tu dziewięć osobnych kawałków, nie zaś 35-minutowy festiwal blastów. Zaznaczam przy tym, że zespół wcale nie stracił na brutalności tyle, ile może wynikać z mojego opisu – Anasarca wciąż prezentuje tradycyjnie jebiący metal śmierci, tyle że bardziej urozmaicony niż w przeszłości. I bardziej cannibalistyczny, bo nie da się ukryć, że spoooro świdrujących riffów (zwłaszcza tych w wolniejszych partiach) mocno zalatuje twórczością Alexa Webstera i spółki. Mnie to nie przeszkadza, bo Niemcy umiejętnie wymieszali je z typowym dla siebie napieprzaniem na wysokich obrotach, a sam materiał zyskał w ten sposób na świeżości. Wobec powyższego powrót Anasarca odbieram bardzo pozytywnie – panowie potrafili zaskoczyć, a ja na Survival Mode dostałem więcej, niż oczekiwałem. Na koniec warto wspomnieć, że premierowy materiał uzupełniono aż pięcioma bonusami, wśród których znajdują się covery Obituary i Vomiting Corpses.

demo



..::TRACK-LIST::..

1. Drinking Blood 3:38
2. Survival Mode (Guest Vocals-Kam Lee) 5:13
3. Cannibal 3:36
4. Blue John 3:31
5. Touching The Void 4:26
6. 571 3:33
7. Pacific Dread 3:21
8. The Donner Party 3:36
9. Endurance 4:41

Bonus:
10. The Weird Ways 3:35
11. Scorn 3:36
12. Godly Beings (Obituary cover) 2:27
13. Paralyzed 3:16
14. Dogmas Ignored (Vomiting Corpses cover) 3:17

Tracks 10 and 11 are re-recorded versions from the 'Godmachine' album.



..::OBSADA::..

Drums - Dirk Janssen
Guitars - Carsten Geerlings, Steffen Parth
Bass, Vocals - Mike



https://www.youtube.com/watch?v=jzK4iTf6QvA


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

...( Info )...

⭐ Pobrałeś/aś -> podziękuj, to nic nie kosztuje a Motywuje!! UDOSTĘPNIJ PO POBRANIU!! ⭐

★ INFO dla "wymagających i niecierpliwych" - seeduję po kilka/kilkanaście godzin dziennie, nie mogę mieć włączonego sprzętu 24h. ;)

...( TrackList )...

1. José Carreras - Io conosco un giardino (Live)
2. Plácido Domingo - Amor ti vieta (Live)
3. Luciano Pavarotti - Lara: Granada (Arr. Chiaramello) (Live)
4. José Carreras - Grieg: T'estimo, Op. 5 No. 3 (Sung in Catalan) (Live)
5. Plácido Domingo - Domingo Jr.: Mémoires de Danton (Live)
6. Luciano Pavarotti - Dalla: Caruso (Arr. Bohets) (Live)
7. José Carreras - Giraud: Sous le ciel de Paris (Arr. Schifrin) (Live)
8. José Carreras - Lara: Solamente una vez (Arr. Schifrin) (Live)
9. José Carreras - Di Capua: Maria, Marì (Arr. Schifrin) (Live)
10. José Carreras - Penella: El gato montés: Torero quiero ser (Rev. Roa García) (Live)
11. José Carreras - Bixio: Parlami d'amore, Mariù (Arr. Schifrin) (Live)
12. José Carreras - De Curtis: Tu, ca nun chiagne! (Arr. Schifrin) (Live)
13. José Carreras - Manha do Carnaval (Arr. Schifrin) (Live)
14. José Carreras - De Curtis: Ti voglio tanto bene (Arr. Schifrin) (Live)
15. José Carreras - De Curtis: Voce'e notte (Arr. Logi) (Live)
16. Plácido Domingo - Quiero desterrar de tu pecho el temor (Live)
17. Luciano Pavarotti - Nessun dorma! (Live)
18. José Carreras - Hardelot: Because (Arr. Schifrin) (Live)
19. José Carreras - Di Capua, Mazzucchi: 'O sole mio (Arr. Schifrin) (Live)
20. José Carreras - Cannio: 'O surdato 'nnamurato (Arr. Schifrin) (Live)
21. José Carreras - Perez Freire: Ay-Ay-Ay (Arr. Schifrin) (Live)
22. José Carreras - Buzzi-Peccia: Lolita (Arr. Schifrin) (Live)
23. José Carreras - Ständchen (Orch. Schifrin) (Live)
24. José Carreras - Falvo: Dicitencello vuie (Arr. Schifrin) (Live)
25. José Carreras - Cardillo: Core 'ngrato (Arr, Schifrin) (Live)
26. José Carreras - You'll Never Walk Alone (Arr. Mathes) (Live)

...( Dane Techniczne )...


- 181 MB

- MPEG Audio (mp3)

- 320 Kbps (48.0 KHz)

- 2 kanały (stereo)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'...And Justice For All' ukazało się oryginalnie 7 września 1988 nakładem Elektra Records. W Stanach Zjednoczonych krążek pokrył się ośmiokrotną platyną. To pierwsza płyta z Jasonem Newstedem w składzie, pierwszy krążek, który trafił do Top 10 w Stanach (najwyższa pozycja - #6), pierwszy singiel w Top 40 w dorobku zespołu ('One'), debiutancki występ na ceremonii Grammy, a także pierwsza wygrana (Najlepszy utwór metalowy 'One'). W porównaniu do swoich poprzedników, '...And Justice For All' zgromadziło najbardziej entuzjastyczne recenzje wśród krytyków.


Był to najbardziej fascynujący album z ich serii klasycznych albumów z lat 80., ale też najbardziej niedoskonały.



..::TRACK-LIST::..

DVD 1: ...And Camcorders For All & 'One'
1. ...And Camcorders For All
'One' Videos
2. 2 Of One Introduction With Lars
3. One (Music Videos)
4. One (Jammin' Version) (Music Videos)
5. One (Live At The 31st Annual Grammy Awards)


DVD 2: Live At Shoreline Amphitheatre, Mountain View, CA - September 15th, 1989
1. The Ecstasy Of Gold
2. Blackened
3. For Whom The Bell Tolls
4. Welcome Home (Sanitarium)
5. Harvester Of Sorrow
6. The Four Horsemen
7. The Thing That Should Not Be
8. Bass Solo
9. Master Of Puppets
10. Fade To Black
11. Seek & Destroy
12. …And Justice For All
13. One
14. Creeping Death
15. Guitar Solo
16. Battery
17. Encore Jam
18. Last Caress
19. Am I Evil?
20. Damage, Inc.
21. Blitzkrieg
22. Breadfan


DVD 3: Live At The Stone Balloon, Newark, DE - August 7th, 1988
1. Backstage Shit
2. The Ecstasy Of Gold
3. Creeping Death
4. For Whom The Bell Tolls
5. Welcome Home (Sanitarium)
6. The Four Horsemen
7. Harvester Of Sorrow
8. Phantom Lord
9. Bass Solo
10. Master Of Puppets
11. Fade To Black
12. No Remorse
13. Seek & Destroy
14. Last Caress
15. Am I Evil?
16. Motorbreath
17. Hit The Lights
18. Blitzkrieg
19. Damage, Inc.
20. Breadfan


DVD 4: Justice On Wheels, Masa Ito Interviews, Raw Live Footage
Justice On Wheels - A Muchmusic Documentary
1. Intro
2. The Road Crew
3. The Fans
4. The Band
5. The Video

Masa Ito Interviews
6. Lars
7. James
8. Jason
8. Kirk

Raw Live Footage (Live At JFK Stadium, Philadelphia, PA - June 11th, 1988)
9. Whiplash
10. Fade To Black
11. Seek & Destroy

Raw Live Footage (Live At RPI Field House, Troy, NY - March 15th, 1989)
12. Master Of Puppets
13. One

Raw Live Footage (Live At Copps Coliseum, Hamilton, Ontario - April 8th, 1989)
14. Master Of Puppets
15. One
16. Seek & Destroy



..::OBSADA::..

Bass - Jason Newsted
Drums - Lars Ulrich
Lead Guitar - Kirk Hammett
Rhythm Guitar - James Hetfield




https://www.youtube.com/watch?v=MqL04r775p4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album białoruskiego zespołu złożonego z muzyków OMINOUS SCRIPTURES i RELICS OF HUMANITY.
11 utworów brutalnego i mocnego death/grind!



Before we get into the meat of this cd, I'd like you to focus your attention on the cover art. Go on, take a gander. Now you might be thinking that it's just a vase of flowers, but it's not until you take another look when you start noticing the splattered blood and body parts on there. Once you've spotted that, there is no more denying that this is some bitchin' cover art, right? You just gotta love art that comes at you in waves like that. It's something different than the depraved slaughter or dystopian landscape art that adorns a lot of death metal releases these days, and I love it! And with that out of the way, let's talk music!

Stylistically, you could place Grimentity between late 90's brutal death metal such as Lividity, Disgorge (US), Fleshgrind and Incestuous, and the death/grind style as it was popular around that same time in Germany and Eastern Europe, with acts like Ingrowing, Kadath, Nyctophobic and Abortion. Blast beat driven ferocity is alternated with groovier stomp, with the fat and heavy riffing holding the tracks firmly together. The vocals are a two-pronged attack of a gruff grunt and a ferocious scream that had me thinking of classic US grinders such as Terrorizer and Hemdale, thus establishing a genuine grindcore feel throughout. There are some winks and nods to the later works of Misery Index and Napalm Death in the guitar work as well, ensuring a good amount of variation, while keeping it all aggressive and fierce. This is a dose of way above average grinding death metal, and all into late 90's/early 00's bands such as Dying Fetus, Exhumed, Skinless and Resurrected should be able to find something to like in here.

When it comes to production I'm a bit torn here, honestly. It all sounds effin' massive, with everything neatly balanced out, but while the guitars sound heavy as fuck and the vocals make for an aggressive performance, the percussion sounds that bit too compressed to my liking. I guess that this is more or less a case of taste on my part, but if the drums had sounded just that bit more organic, it would have given the already ripping music even more punch.

I'm going to wrap this one up by saying that this is a pretty banging affair, sounding massive whilst oozing aggression, and it should be able to strike a nerve with all who like death metal/grindcore with an old school brutal death metal edge to it. If you feel any kind of nostalgia for the late 90's death metal scene (like me), these guys are sure worth checking out!

Vaseline1980



..::TRACK-LIST::..

1. Searching the perfect shade 02:10
2. The power of broken 02:19
3. Blinded by the majesty of own mind 02:54
4. Healing With Fury 01:30
5. Psilocybin Recombination 02:51
6. Faith imitation 02:20
7. A sense of the breath of a flame 02:39
8. Crimson tones dreams 02:13
9. Individual Perception of Psychoanalysis 02:15
10. The Supreme Form of Evolution 01:59
11. DSM-5. The New Chapter 02:05



..::OBSADA::..

Illia Baradulich - Vocals
Pavel Lapkouski - Guitar, Vocals
Nikita Metelskiy - Bass
Roman Drobishevski - Drums



https://www.youtube.com/watch?v=bGYdi4hWFq4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album białoruskiego zespołu złożonego z muzyków OMINOUS SCRIPTURES i RELICS OF HUMANITY.
11 utworów brutalnego i mocnego death/grind!



Before we get into the meat of this cd, I'd like you to focus your attention on the cover art. Go on, take a gander. Now you might be thinking that it's just a vase of flowers, but it's not until you take another look when you start noticing the splattered blood and body parts on there. Once you've spotted that, there is no more denying that this is some bitchin' cover art, right? You just gotta love art that comes at you in waves like that. It's something different than the depraved slaughter or dystopian landscape art that adorns a lot of death metal releases these days, and I love it! And with that out of the way, let's talk music!

Stylistically, you could place Grimentity between late 90's brutal death metal such as Lividity, Disgorge (US), Fleshgrind and Incestuous, and the death/grind style as it was popular around that same time in Germany and Eastern Europe, with acts like Ingrowing, Kadath, Nyctophobic and Abortion. Blast beat driven ferocity is alternated with groovier stomp, with the fat and heavy riffing holding the tracks firmly together. The vocals are a two-pronged attack of a gruff grunt and a ferocious scream that had me thinking of classic US grinders such as Terrorizer and Hemdale, thus establishing a genuine grindcore feel throughout. There are some winks and nods to the later works of Misery Index and Napalm Death in the guitar work as well, ensuring a good amount of variation, while keeping it all aggressive and fierce. This is a dose of way above average grinding death metal, and all into late 90's/early 00's bands such as Dying Fetus, Exhumed, Skinless and Resurrected should be able to find something to like in here.

When it comes to production I'm a bit torn here, honestly. It all sounds effin' massive, with everything neatly balanced out, but while the guitars sound heavy as fuck and the vocals make for an aggressive performance, the percussion sounds that bit too compressed to my liking. I guess that this is more or less a case of taste on my part, but if the drums had sounded just that bit more organic, it would have given the already ripping music even more punch.

I'm going to wrap this one up by saying that this is a pretty banging affair, sounding massive whilst oozing aggression, and it should be able to strike a nerve with all who like death metal/grindcore with an old school brutal death metal edge to it. If you feel any kind of nostalgia for the late 90's death metal scene (like me), these guys are sure worth checking out!

Vaseline1980



..::TRACK-LIST::..

1. Searching the perfect shade 02:10
2. The power of broken 02:19
3. Blinded by the majesty of own mind 02:54
4. Healing With Fury 01:30
5. Psilocybin Recombination 02:51
6. Faith imitation 02:20
7. A sense of the breath of a flame 02:39
8. Crimson tones dreams 02:13
9. Individual Perception of Psychoanalysis 02:15
10. The Supreme Form of Evolution 01:59
11. DSM-5. The New Chapter 02:05



..::OBSADA::..

Illia Baradulich - Vocals
Pavel Lapkouski - Guitar, Vocals
Nikita Metelskiy - Bass
Roman Drobishevski - Drums



https://www.youtube.com/watch?v=bGYdi4hWFq4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Akt szaleństwa, piątki nastolatków z Northern Beaches w Sydney!


..::OPIS::..

Sometime around 1993, in the halls of Cromer High-school on Sydney’s Northern beaches, Neuropath was conceived. Between 1995 and 1996 Neuropath documented two demo cassettes; firstly, “Nefarious Vivisection” followed by “Desert of Excruciation”. “Nefarious Vivisection” acted as a purging of their earlier material but epitomized the uncompromisingly raw and brutal edge of mid 90’s Death Metal. “Desert of Excruciation” originally released by Australia's Warhead Records saw Neuropath traversing towards a tighter and more technical style of Death Metal. Remarkably both demos where released unmastered.

“At Damnation’s Core” compiles both demos together, mastered for the first time by Dredged Oblivion.

The “At Damnation’s Core” CD package will include an 8-page booklet comprising band photos, lyrics and detailed linear notes of Neuropath’s history authored by guitarist and founding member Daniel Stubbs.

Twisted notes of agony, a burning death for infinity....Neuropath!



..::TRACK-LIST::..

1. Incantations of Decrepit Nihilism 04:23
2. My Bleeding Mortality 03:39
3. Copulation of Insanity 03:25
4. Nefarious Vivisection 04:13
5. Masticated Cadaver 03:14
6. Vulgar Rebirth 04:28
7. Rectal Pulpation 04:57

Tracks 1 - 3 taken from the 'Desert of Excruciation' EP. Originally released by Warhead Records. Originally recorded 05/03/95 at The Jungle Recording Studio and Engineered by Shaun Looker.

Tracks 4-7 taken from the 'Nefarious Vivisection' self-released demo. Originally recorded 23-27/12/95 at The Jungle Recording Studio and Engineered by Shaun Looker.



..::OBSADA::..

Mark WANGMANN - Vocals
Daniel STUBBS - Lead, Rhythm Guitar
Luke BURNS - Drums, Backing Vocals
Anthony WATSON - Rhythm Guitar
Ali CHAMAS - Bass (Tracks 1 - 3)
Carl 'Barney' HAUPTSTEIN - Bass (Tracks 4-7)



https://www.youtube.com/watch?v=DdWk9qp7v1g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Akt szaleństwa, piątki nastolatków z Northern Beaches w Sydney!


..::OPIS::..

Sometime around 1993, in the halls of Cromer High-school on Sydney’s Northern beaches, Neuropath was conceived. Between 1995 and 1996 Neuropath documented two demo cassettes; firstly, “Nefarious Vivisection” followed by “Desert of Excruciation”. “Nefarious Vivisection” acted as a purging of their earlier material but epitomized the uncompromisingly raw and brutal edge of mid 90’s Death Metal. “Desert of Excruciation” originally released by Australia's Warhead Records saw Neuropath traversing towards a tighter and more technical style of Death Metal. Remarkably both demos where released unmastered.

“At Damnation’s Core” compiles both demos together, mastered for the first time by Dredged Oblivion.

The “At Damnation’s Core” CD package will include an 8-page booklet comprising band photos, lyrics and detailed linear notes of Neuropath’s history authored by guitarist and founding member Daniel Stubbs.

Twisted notes of agony, a burning death for infinity....Neuropath!



..::TRACK-LIST::..

1. Incantations of Decrepit Nihilism 04:23
2. My Bleeding Mortality 03:39
3. Copulation of Insanity 03:25
4. Nefarious Vivisection 04:13
5. Masticated Cadaver 03:14
6. Vulgar Rebirth 04:28
7. Rectal Pulpation 04:57

Tracks 1 - 3 taken from the 'Desert of Excruciation' EP. Originally released by Warhead Records. Originally recorded 05/03/95 at The Jungle Recording Studio and Engineered by Shaun Looker.

Tracks 4-7 taken from the 'Nefarious Vivisection' self-released demo. Originally recorded 23-27/12/95 at The Jungle Recording Studio and Engineered by Shaun Looker.



..::OBSADA::..

Mark WANGMANN - Vocals
Daniel STUBBS - Lead, Rhythm Guitar
Luke BURNS - Drums, Backing Vocals
Anthony WATSON - Rhythm Guitar
Ali CHAMAS - Bass (Tracks 1 - 3)
Carl 'Barney' HAUPTSTEIN - Bass (Tracks 4-7)



https://www.youtube.com/watch?v=DdWk9qp7v1g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



DVD 5
NTSC
4:3
DD 2.0



..::TRACK-LIST::..

1. Rockpalast Caption 0:14
2. Southside 2:52
3. Junkyard In Malibu 7:45
4. Signs Of Life 4:10
5. My Party 4:07
6. Small Walking Box 10:15
7. Pride Of Man 4:38
8. Bad Luck Baby 7:09
9. Hot Rods And Cool Women 4:11
10. I'll Pull The Trigger 3:51
11. Keep On Running 4:27
12. Buried Alive In The Blues 8:14
13. Who Do You Love 11:26



..::OBSADA::..

Guitar - John Cippollina
Lead Vocals, Guitar - Nick Gravenites
Bass, Vocals - Al Staehely
Drums - Marcus David




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



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