...( Info )...

Artist: Linkin Park
Title: Castle of Glass (Vantablack Cinematic Remix)
Remixer: vantablack
Type/Genre: Epic, Cinematic, Soundtrack, Film-score, Orchestral, Dramatic
Release date: -
Source: Zmiksowane ze stemów / Mixed from stems
Bit-depth / Sampling rate (3D Binaural): 24-bit/48kHz
Bit-depth / Sampling rate (Dolby TrueHD Atmos): 24-bit/48kHz
Channels (3D Binaural for Headphones): 2.0 Stereo (tylko słuchawki)
Channels (MLP FBA - Dolby TrueHD Atmos): Core - 7.1 (up to Atmos 9.1.6 - 16ch) (kino domowe)
Format (3D Binaural): .flac
Format (Dolby TrueHD Atmos): .mkv
Size total: 287 MB
Tracks total: 1
Duration total: [03:05]

...( Dane Techniczne )...

Dolby TrueHD+Atmos:

Format             : Matroska
Format version         : Version 4
File size           : 144 MiB
Duration            : 3 min 5 s
Overall bit rate mode     : Variable
Overall bit rate        : 6 541 kb/s
Encoded date          : 2025-04-10 17:59:49 UTC
Writing application      : mkvmerge v91.0 ('Signs') 64-bit
Writing library        : libebml v1.4.5 + libmatroska v1.7.1

Audio
ID               : 1
Format             : MLP FBA 16-ch
Format/Info          : Meridian Lossless Packing FBA with 16-channel presentation
Commercial name        : Dolby TrueHD with Dolby Atmos
Codec ID            : A_TRUEHD
Duration            : 3 min 5 s
Bit rate mode         : Variable
Bit rate            : 6 474 kb/s
Maximum bit rate        : 9 204 kb/s
Channel(s)           : 8 channels
Channel layout         : L R C LFE Ls Rs Lb Rb
Sampling rate         : 48.0 kHz
Frame rate           : 1 200.000 FPS (40 SPF)
Compression mode        : Lossless
Stream size          : 143 MiB (99%)
Title             : TrueHD 7.1 Atmos
Default            : Yes
Forced             : No
Number of dynamic objects   : 15
Bed channel count       : 1 channel
Bed channel configuration   : LFE

DD+JOC/Atmos:

Audio
ID               : 1
Format             : E-AC-3 JOC
Format/Info          : Enhanced AC-3 with Joint Object Coding
Commercial name        : Dolby Digital Plus with Dolby Atmos
Codec ID            : ec-3
Duration            : 3 min 5 s
Bit rate mode         : Constant
Bit rate            : 768 kb/s
Channel(s)           : 6 channels
Channel layout         : L R C LFE Ls Rs
Sampling rate         : 48.0 kHz
Frame rate           : 31.250 FPS (1536 SPF)
Compression mode        : Lossy
Stream size          : 16.9 MiB (100%)
Service kind          : Complete Main
Default            : Yes
Alternate group        : 2
Encoded date          : 2025-04-10 17:50:36 UTC
Tagged date          : 2025-04-10 17:50:36 UTC
Complexity index        : 16
Number of dynamic objects   : 15
Bed channel count       : 1 channel
Bed channel configuration   : LFE
Dialog Normalization      : -15 dB
compr             : -0.28 dB
dmixmod            : Lo/Ro
ltrtcmixlev          : 0.0 dB
ltrtsurmixlev         : -1.5 dB
lorocmixlev          : 0.0 dB
lorosurmixlev         : -1.5 dB
dialnorm_Average        : -15 dB
dialnorm_Minimum        : -15 dB
dialnorm_Maximum        : -15 dB

Alternative Dolby Digital 5.1:

Audio
ID               : 1
Format             : AC-3
Format/Info          : Audio Coding 3
Commercial name        : Dolby Digital
Codec ID            : ac-3
Duration            : 3 min 5 s
Bit rate mode         : Constant
Bit rate            : 640 kb/s
Channel(s)           : 6 channels
Channel layout         : L R C LFE Ls Rs
Sampling rate         : 48.0 kHz
Frame rate           : 31.250 FPS (1536 SPF)
Compression mode        : Lossy
Stream size          : 14.1 MiB (100%)
Service kind          : Complete Main
Default            : Yes
Alternate group        : 2
Encoded date          : 2025-04-10 17:48:15 UTC
Tagged date          : 2025-04-10 17:48:15 UTC
Dialog Normalization      : -15 dB
compr             : -0.28 dB
cmixlev            : -3.0 dB
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dmixmod            : Lo/Ro
ltrtcmixlev          : 0.0 dB
ltrtsurmixlev         : -1.5 dB
lorocmixlev          : 0.0 dB
lorosurmixlev         : -1.5 dB
dialnorm_Average        : -15 dB
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Alternative FLAC 5.1:

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 3 min 5 s
Bit rate mode         : Variable
Bit rate            : 3 503 kb/s
Channel(s)           : 6 channels
Channel layout         : L R C LFE Ls Rs
Sampling rate         : 48.0 kHz
Bit depth           : 24 bits
Compression mode        : Lossless
Stream size          : 77.3 MiB (100%)
Writing library        : libFLAC 1.3.2 (2017-01-01)

Binaural for Headphones:

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 3 min 5 s
Bit rate mode         : Variable
Bit rate            : 1 534 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 48.0 kHz
Bit depth           : 24 bits
Compression mode        : Lossless
Stream size          : 33.8 MiB (100%)
Writing library        : libFLAC 1.3.2 (2017-01-01)

...( TrackList )...

01. Castle of Glass (Vantablack Cinematic Remix) [03:05]

...( Info )...

Artist: Tassack / Fazi
Album: Warkot
Country: PL
Genre: Crossover Thrash
Release: 2025
Duration: 00:44:51
Quality: Mp3, CBR 320 kbps
Size: 108 mb


...( Opis )...

Thrashowcy z Poznania działają sobie w podziemiu ciężkiej muzyki od dekady. ”Warkot” to piąta płyta crossoverowej ekipy. W środowisku metalowców od zawsze uważani za zespół śmiechowy, bekowy, niepoważny; wrzuceni do worka z Nocnym Kochankiem, Łydką Grubasa, Kabanosem, czy Lej Mi Pół. Niepoważni metalowcy postanowili zaprosić do współpracy niepoważnego hip-hopowca, bekowego rapera – Faziego – filar kultowego składu pod nazwą Nagły Atak Spawacza (żeby nie było – N.A.S. zostali docenieni nie tylko przez fanów, ale i przez rodzimą branżę, odbierając nagrodę Fryderyka za debiutancki krążek pt. „Brat Juzef”).

Legenda polskiego rapu – Krzysztof „Fazi” Milerski - od zarania swojej przygody z muzyką bliżej „bratał” się z metalem łączonym z rapowaniem niż z tym, co nazywa się dziś klasycznym hip-hopem: Biohazard, S.O.D., Agnostic Front… Najpierw było „szarpidrutowe” darcie ryja zamiast rapowania: Samsara, czy Pejcz i blant to przecież idealne przykłady zamiłowania Faziego do ciężkich brzmień crossoverowych. Nastała jednak era Nagłego Ataku Spawacza, który to okres uczynił z Milerskiego ikonę początków polskiego rapu. Teraz „z całej epy” – jak to się po poznańsku mówi – Fazi wrócił pobawić się znów w granie czysto metalowe.

Tassack przeprowadził się na jakiś czas z Poznania do Rybnika, by w studiu No Fear Records zarejestrować materiał na „Warkot” – wspólny album z udziałem Faziego. W podkaście Kamila Jasieńskiego - „Nie ma lekko” - w Czwartym Programie Polskiego Radia, muzycy opowiedzieli co nieco o początkach współpracy:

Lucy: „Ogólnie to był temat taki, że myśmy byli na trasie dziesięciolecia Tassacka ze Spawaczami i w sumie myśmy się dobrze dogadywali. Spawacze byli wtedy w wytwórni SOCV, no i my też mieliśmy dla wytwórni SOCV coś robić, no i zaproponowano nam tę płytę wspólną z Fazim”.

Fazi: "Z mojej strony to pamiętam, że chyba pierwsze info dostałem od Kaczmiego albo od kogoś, że są chłopaki, grają metal i gdzieś na koncertach lubią grać „Antyliroya”. I od tego się zaczęło, że ja się dowiedziałem o Tassackach, chyba od Kaczmiego, jeżeli dobrze pamiętam. Później właśnie padł pomysł – Kaczmi mi to właśnie też powiedział – że chłopaki z Tassacka nagrywają taki kawałek, chcieliby nas zaprosić – czyli Spawacza do tego utworu. No i dograliśmy się do tego kawałka i naprawdę, kurwa, sorry… Jeden – zero… Mnie się to bardzo podobało i kurde, no nie było jakiegoś takiego ciśnienia, nawet nie miałem, nie myślałem, że dojdzie do takiego momentu, że zacznę z nimi grać i jeszcze do tego, że nagramy jakąś płytę. Ale później właśnie padła propozycja… No w sumie ta wytwórnia – SOCV na to wpadła, żeby wymyślić taką płytkę (…). Z wytwórnią SOCV się pożegnaliśmy, pomysł został, płyta powstała, ja jestem bardzo szczęśliwy, bo od czasu „Cycków i krwi” brakowało mi czegoś takiego. Miałem tam jakieś różne podejścia, ale nigdy nie było takiej możliwości żeby znaleźć zespół, żeby znaleźć muzyków, którzy grają na żywo, itd. A tutaj Dziadek przyszedł na gotowe, można powiedzieć. Ja się jaram”.

Warto zwrócić uwagę na jeden featuring tego albumu - utwór, do którego dograł się Zdechły Osa - chyba najbardziej alternatywny raper polskiego podwórka. Punkowo-grunge'owo-rockowy przedstawiciel obecnej "prawilnej" rapowej sceny.

15 lat po mocno hardcore’owym materiale zatytułowanym „Cycki krew”, dostajemy w końcu Faziego w wersji jeszcze bardziej gitarowej, właściwie w pełni metalowej. Tassack – „Warkot” – trzy kwadranse crossoverowo-thrashowej jazdy bez trzymanki, której słuchanie może się skończyć tym, czym w jednym z utworów tej płyty – juchą na rampie…


...( TrackList )...

1. Ekoterrorysta
2. Warkot
3. Huta agresji (feat. Tester Gier)
4. Żyła z Wildy
5. Jucha na rampie
6. Fazi SKIT
7. Hawajski zwiadowca
8. Cicha Maria
9. Hard Core '25
10. Kaszel mrocznej lochy
11. Recepta SKIT
12. Need4Weed (feat. N.A.S. & Zdechły Osa)
13. Z całej epy
14. 3cMC (feat. .bHP)
15. Kiedyś to było

..::INFO::..

Po dziwnym, eksperymentalnym "Ugly Season" - łączącym art pop z elementami współczesnej poważki, ambientu czy jazzu - Michael Hadreas, lepiej znany jako Perfume Genius, wraca do przystępniejszego grania. Zapowiadające "Glory" single mogły wręcz sugerować bardzo zachowawczy materiał. Dotyczy to szczególnie "It's a Mirror" i "No Front Teeth", które są po prostu melodyjnymi piosenkami, łączącymi akustyczne, nieco folkowe brzmienia z rockowymi zaostrzeniami. W tym drugim gościnnie udziela się nawet folkowa pieśniarka Aldous Harding, której duet z Hadreasem kieruje kawałek w bardzo mainstreamowe rejony. To jednak naprawdę świetnie napisane piosenki, z wyrazistymi, ładnie poprowadzonymi melodiami, niepopadające w muzyczny lub tekstowy banał. W dodatku o ile instrumentalnie są bardzo solidne - i słychać w nich bardziej zespołowe podejście (swoją drogą, w składzie jest prawdziwy weteran, Jim Keltner, który grał ze Stonesami i Dylanem) - tak charakterystyczny i charyzmatyczny śpiew lidera wnosi te utwory na wyższy poziom.

Title: Glory

Artist: Parfume Genius

Country: USA

Year: 2024

Genre: Indie

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. It's a Mirror;
2. No Front Teeth;
3. Clean Heart;
4. Me & Angel;
5. Left for Tomorrow;
6. Full On;
7. Capezio;
8. Dion;
9. In a Row;
10. Hanging Out;
11. Glory

..::INFO::..

Forever Howlong to trzeci album studyjny brytyjskiego zespołu rockowego Black Country, New Road. Wydany 4 kwietnia 2025 roku nakładem Ninja Tune, jest to ich pierwszy album studyjny po odejściu głównego wokalisty Isaaca Wooda.

Title: Forever Howlong

Artist: Black Country New Road

Country: Wielka Brytania

Year: 2025

Genre: Alternatywna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Besties
2.The Big Spin
3.Socks
4.Salem Sisters
5.Two Horses
6.Mary
7.Happy Birthday
8.For the Cold Country
9.Nancy Tries to Take the Night
10.Forever Howlong
11.Goodbye (Don't Tell Me)

..::INFO::..

Album studyjny brazylijskiego muzyka jazzowego.

Title: Myself

Artist: Thaizinho Costa

Country: Brazylia

Year: 2017

Genre: Jazz

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.I Wanna Funk
2.Bretagne
3.Central Do Brasil
4.Everybody Dance
5.Ha Tempo
6.Sorrindo
7.Justine
8.True Lovers
9.Just Like You
10.Flower Song
11.Au Lever Du Soleil
12.One More Chance
13.Let's Dance on the Floor

..::INFO::..

---------------------------------------------------------------------
The Beach Boys - Summer Dreams
---------------------------------------------------------------------

Artist...............: The Beach Boys
Album................: Summer Dreams
Genre................: Pop
Source...............: CD
Year.................: 1990
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 51 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Capitol Records

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

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

1. The Beach Boys - I Get Around [02:12]
2. The Beach Boys - Surfin’ USA [02:28]
3. The Beach Boys - Fun, Fun, Fun [02:19]
4. The Beach Boys - Little Deuce Coupe [01:40]
5. The Beach Boys - Surfin’ Safari [02:05]
6. The Beach Boys - Help Me, Rhonda [02:46]
7. The Beach Boys - California Girls [02:37]
8. The Beach Boys - Don’t Worry Baby [02:48]
9. The Beach Boys - When I Grow Up (to Be a Man) [02:00]
10. The Beach Boys - Dance, Dance, Dance [01:59]
11. The Beach Boys - The Little Girl I Once Knew [02:32]
12. The Beach Boys - Barbara Ann [02:07]
13. The Beach Boys - Good Vibrations [03:36]
14. The Beach Boys - Sloop John B. [02:57]
15. The Beach Boys - You’re So Good to Me [02:14]
16. The Beach Boys - God Only Knows [02:50]
17. The Beach Boys - Then I Kissed Her [02:15]
18. The Beach Boys - Wouldn’t It Be Nice [02:23]
19. The Beach Boys - Heroes and Villains [03:37]
20. The Beach Boys - Wild Honey [02:37]
21. The Beach Boys - Do It Again [02:15]
22. The Beach Boys - Friends [02:32]
23. The Beach Boys - Darlin’ [02:12]
24. The Beach Boys - Bluebirds Over the Mountain [02:52]
25. The Beach Boys - I Can Hear Music [02:36]
26. The Beach Boys - Break Away [02:54]
27. The Beach Boys - Cotton Fields [03:01]
28. The Beach Boys - California Dreamin’ [03:09]

Playing Time.........: 01:11:46
Total Size...........: 368,55 MB

..::INFO::..

---------------------------------------------------------------------
Status Quo - Aquostic - Stripped Bare
---------------------------------------------------------------------

Artist...............: Status Quo
Album................: Aquostic - Stripped Bare
Genre................: Rock
Source...............: CD
Year.................: 2014
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20070917
Quality..............: Lossless, (avg. compression: 72 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Rhino UK

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

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

1. Status Quo - Pictures of Matchstick Men [03:37]
2. Status Quo - Down the Dustpipe [02:40]
3. Status Quo - Nanana [02:55]
4. Status Quo - Paper Plane [03:37]
5. Status Quo - All the Reasons [03:07]
6. Status Quo - Reason for Living [03:20]
7. Status Quo - And It's Better Now [03:41]
8. Status Quo - Caroline [03:12]
9. Status Quo - Softer Ride [02:56]
10. Status Quo - Claudie [03:57]
11. Status Quo - Break the Rules [03:09]
12. Status Quo - Down Down [02:36]
13. Status Quo - Mystery Song (Bonus Track) [02:33]
14. Status Quo - Little Lady (Bonus Track) [01:50]
15. Status Quo - Rain [03:56]
16. Status Quo - Rockin' All Over the World [02:40]
17. Status Quo - Again and Again [03:20]
18. Status Quo - Whatever You Want [03:25]
19. Status Quo - What You're Proposing [02:04]
20. Status Quo - Rock 'n' Roll [02:42]
21. Status Quo - Don't Drive My Car [03:10]
22. Status Quo - Marguerita Time [03:19]
23. Status Quo - Burning Bridges [03:45]
24. Status Quo - Rock 'til You Drop [02:48]

Playing Time.........: 01:14:30
Total Size...........: 537,78 MB

..::INFO::..

---------------------------------------------------------------------
Status Quo - Don't Stop
---------------------------------------------------------------------

Artist...............: Status Quo
Album................: Don't Stop
Genre................: Rock
Source...............: CD
Year.................: 1996
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.3.1 20141125
Quality..............: Lossless, (avg. compression: 68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment

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

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

1. The Beach Boys & Status Quo - Fun, Fun, Fun [04:02]
2. Status Quo - When You Walk in the Room [04:05]
3. Status Quo - I Can Hear the Grass Grow [03:27]
4. Status Quo - You Can Never Tell (It Was a Teenage Wedding)[03:50]
5. Status Quo - Get Back [03:23]
6. Status Quo - Safety Dance [03:56]
7. Status Quo - Raining in My Heart [03:32]
8. Status Quo - Don't Stop [03:40]
9. Status Quo - Sorrow [04:14]
10. Status Quo - Proud Mary [03:30]
11. Status Quo - Lucille [02:58]
12. Status Quo - Johnny and Mary [03:35]
13. Status Quo - Get Out of Denver [04:08]
14. Status Quo - The Future's So Bright (I Gotta Wear Shades)[03:35]
15. Status Quo - All Around My Hat [03:55]

Playing Time.........: 55:55
Total Size...........: 382,95 MB

...( Info )...

Artist: André Rieu
Album: Power of Love (Live in Maastricht 2024)
Year: 2025
Quality: FLAC 24Bit-48kHz

...( TrackList )...

01. Entry of the Gladiators (ARV) (Live)
02. Blaze Away (Live)
03. Granada (Live in Maastricht, 2024)
04. Ob Blond, Ob Braun (Live)
05. Nessun dorma (From the Opera "Turandot") [ARV] (Live)
06. Alte Kameraden (Entry) (Live)
07. Triumphal March (From the Opera "Aida") (Live in Maastricht, 2024)
08. Pini di Roma: IV. I pini della via Appia (Arr. Andre Rieu) (Live)
09. Panis Angelicus (Live)
10. Parade of the Charioteers (From "Ben-Hur") (Live)
11. Nearer My God to Thee (Version from "Titanic”) (Live)
12. Alte Kameraden (Exit) (Live)
13. Think of Me (From "Phantom of the Opera") (Live)
14. Dancing on the Stars (Live)
15. Ta Pedia Tou Pirea (Live)
16. España Cani (Live)
17. Vilja Lied (From "The Merry Widow") [ARV 19] (Live)
18. The Beautiful Blue Danube (ARV 15) (Live)
19. Hallelujah (From "Messiah, HWV 56") [ARV 10] (Live)
20. Radetzky March (ARV 15) (Live)
21. Strauss & Co. (Live)
22. Libiamo (From "La Traviata") [ARV 10] (Live)
23. Tutti Frutti (Live)
24. Can't Help Falling in Love (Live)
25. Zorba's Dance (From "Zorba the Greek") (Live)
26. Sweet Caroline (Live)
27. Delilah (Live)
28. Adieu, mein kleiner Gardeoffizier, Op. 557 (Live)
29. Marina (Live)

...( Info )...

Artist: Amanda Whiting
Album: The Liminality of Her (Deluxe Edition)
Year: 2025
Quality: FLAC 24Bit-48kHz

...( Opis )...

Amanda Whiting jest walijską harfistką, kompozytorem i pedagogiem znanym z jej innowacyjnego wkładu w Jazz Harp. Urodzona 15 września 1976 r. W Cardiff w Walii zaczęła grać na harfie w wieku sześciu lat, zainspirowana Harpo Marksem. Jej szkolenie klasyczne obejmowało studia w Wells Cathedral School i Cardiff University, gdzie uzyskała tytuł licencjata muzyki klasycznej. W 2013 roku kontynuowała magister jazzu w Royal Welsh College of Music and Drama, oznaczając jej przejście na jazz.

...( TrackList )...

01. Finding the Way
02. Facing the Sun
03. Intertwined
04. Liminal
05. Nomad
06. Alchemy
07. Waiting to Go
08. No Turning Back
09. Rite of Passage
10. Feels so Far Away
11. Mary Over There
12. My Favorite Things
13. At Ease
14. Intertwined (Quiet Dawn Remix)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ten album jest niewiarygodny. Riffy, melodie, atmosfera, piękne wokale... Doskonała muzyka rockowa od początku do końca!



It’s been five years since Flight released A Leap Through Matter, but the group’s third album gets right back on their growing heavy retro prog style. Echoes of Journeys Past looks to be an especially spry listen, sitting at a lean thirty-six minutes and coming right out of the gate with two charging numbers. It might be a stretch to think of “Hypatia” or “Valley of the Moon” as any sort of metal, but there’s synergy in those crackling guitars, airy keys, echoing vocals, and speedy rhythms. The latter especially stands out for its jubilant chorus and Captain Beyond-esque bits of spoken word.

From there, the rest of the album leans even further into those prog and AOR tendencies. “Comet of Gold” is an abrupt change of pace with its dreamy atmosphere and gradual build make it feel like a meeting point between Rush and Judas Priest’s mellow sides circa 1976. The title track and “Path to Nowhere (Elysian Fields)” follow that up with upbeat treads that maintain the otherworldly lushness, the latter also putting in the album’s most striking chorus. The closing “Mystic Mountain” suite may not be the most colossal epic around at *only* nine minutes long, but that leaves a lot of room for escalating rhythms, subtly fluctuating speeds, and some electrifying guitar/keyboard trade-offs.

Overall, Echoes of Journeys Past is another winning step in Flight’s appropriately upward trajectory. There’s an argument to be made for A Leap Through Matter being the better album with its more substantial length, but I find this album edges it out for it’s more dynamic explorations and snappier flow. Much like other retro groups like Hallas and Tanith, there’s an earnest enthusiasm that makes the escapism work without seeming hokey. Strongly recommended for those seeking out a pleasant old school journey.

Twisted Psychology


If there's a band susceptible to draw me out of retirement, it's Norway's Flight, which just turned around with its third full-length, Echoes Of Journeys Past...and lemme tell ya, it's a flawlessly upbeat doozie much like 2018's A Leap Through Matter, to the point where the toothsome trio has finally unlocked the heavy metal equivalent of a rare and elusive platinum trophy. In other words, all boxes are checked; melodic musical prowess, maniacal catchiness and mesmerizing enchantment are all featured here, on this seven track ethereal wonder we've been waiting for for so long.

Whereas A Matter Leap focused on outer spatial fantasy, this one feels grounded within the terrestrial realm, sort of an antecedent or prologue to pre pandemic master "flight", when all eyes concentrated on the far-flung stars. Granted, it's much lighter in general, with ulterior emphasis on the hippie drugged 1960s, as opposed to less naive and raucous 1970s, as attested by early A side cuts "Valley Of The Moon" and "Comet Of Gold", which skirt laid back and relaxed mellow vibes inherent to flowers and honeybees instead of galactic cruisers and motor bikes. On the other beckoning hand, Diamond Head-esque opener "Hypatia" and B tiered titular landmark "Echoes Of Journeys Past" duly rip with typical, honky major scaled bliss so prevalent the second go-around (despite 2015's namesake debut still sounding auspicious as Hell).

A further down toned but mellifluously soothing, low-key rocker graced by front man/lone guitarist Christoffer Bråthen entails "Path To Nowhere" (Elysian Fields)". Although it's a far cry from Megadeth's memorable take back in '94, rest assured the hypnosis factor prevails once again, as fluently unorthodox leads pave the way towards a brief strut on green cheese called "Moondance" - in a nonparallel universe or dimension, a soft nod to Michael Jackson's moon walk...

Newly engaged rhythm men Jonas Bye (bass) and Herman Holen (drums) also merit recognition for their funky assistance, notably reaching a predatory apex on nine-and-a-half minute closer "Mystic Mountain", a loose and exploratory exercise in fleet footed wisdom which gracefully completes Echoes Of Journeys Past, an admittedly less punchy, yet every bit as cool and unique offering on behalf of these Nordic bards.

CHAIRTHROWER


As you can regularly hear me argue on Twitter, I firmly believe that the best time for music is now – there’s no need to hold onto the nostalgia for the rose-tinted glory years of bygone eras. But if we frame the discussion around historical importance, nothing in my mind can top the 1970s. Public arts funding and education were at a peak, and a whole wealth of new creative ideas found footing in ways no one was ready for. Funk, disco, punk, metal, prog, hip-hop, electronic music and more all took their first steps during the ’70s – genres that continue to evolve and shape the music that is made and listened to today in countless ways. One such style that is experiencing a small revival is the rock sound of that era, and Flight have masterfully captured the spirit of that snapshot of time.

Formed in Oslo in 2012, Flight released their self-titled debut in 2015, a follow up in 2018 after getting picked up by High Roller Records, and now Echoes of Journeys Past through Dying Victims Productions, one of the leading purveyors of retro throwback. Flight are part of a seemingly endless wave of new Scandinavian throwback rock bands that have created their own scene over the past decade, seeking an homage to a decade that inspired such a wide variety of sounds and ideas in art. This growing movement is so strong in commitment that very famously Opeth, by many once considered among the best death metal bands of all time, have completely abandoned that sound in favour of Mikael Akerfeldt’s love of 1970s progressive rock. If you’re a fan of the contemporary sound of Opeth, or the classic and original sound of bands like Blue Oyster Cult, Rainbow, or Rush, then this new Flight LP is the record for you.

I don’t think the term “70s rock” can really properly be defined as a genre, but I use it to describe Flight because their sound is such an encompassing love letter to the emotional soundscape of the decade. Blending elements of prog rock, hard rock, and proto-metal in a way that feels completely authentic to the time but also incredibly organic and original, Echoes of Journeys Past could credibly be confused with being a long forgotten gem buried for 50 years in the back of a Norwegian record shop. Vocalist Christoffer Bråthen’s voice is like a soothing northern breeze, gently calling out from the heavens to tell tales of space, time and magic. The band has a lyrical approach to fantasy that emits an aura of pulp and myth intertwined – if Flight had actually been a band back in 1978 I can absolutely guarantee you they would have inspired at least one person to spraypaint a wizard on their van.

Bråthen is also the band’s guitarist and synth programmer, and his playing clearly draws from an incredible wellspring of inspiration. His guitar tone is incredibly clean and sleek, brightly singing alongside his actual vocal delivery, delivering tasty licks between chorus refrains, or dancing in the cosmic reaches of a world just beyond our fingertips. The synths are even brighter and stand out as pinpricks of light like distant stars in the black emptiness. Every instrument is given an incredible amount of space, and that is in part thanks to the relative simplicity of the bands lineup – Bråthen on vox, guitar, and synth, with Jonas Bye on bass alongside drummer Herman Holen.

The title track is arguably the strongest on the record and my personal favourite – it is dynamic as hell, full of rockin’ groove that just won’t stop pulsing and moving. But the chorus is a standout, shining like golden honey in the sun, so sweet and I can’t get enough of it before it dives into an incredibly soulful and tasty guitar solo. The track is genuinely addicting and fresh as a summer breeze. The other standout is album closer “Mystic Mountain” – led in by instrumental interlude “Moondance”, “Mystic Mountain” is an appropriately epic 10-minute suite split into four parts. What could get more prog than a four part closer stuffed into one track? It certainly feels like an epic journey, wandering and drifting across an entire adventure of rock that ascends to a powerful climax to seal the scant 36 minutes of the record.

The layers on Echoes of Journeys Past are simple. With only one guitar and barely any overdrive or distortion, it never feels too busy or overwhelming – you can feel the groove of the bass and pop of the drums beneath the rest of the performances. This is key to Flight’s success in not only recapturing the sounds of the past, but also making their own music and original and highly effective compositional skills feel fully fleshed out. Being able to easily absorb and appreciate the drum fills, guitar licks or the general craft of the songs makes them feel incredibly strong as both art but also sticky tracks, the songs are simply endearing. The guitar solos are scorching hot when they come, surrounded by a revving intensity from the rest of the sound to emphasize the power this band has hidden betwixt their swords and potions.

THE BOTTOM LINE

Flight are unashamedly proud of their worship of one of the greatest decades in music history, but it doesn’t stop them from pushing their own sound into new and interesting places. While they do have one eye on the past, their interest in the future of has created some of the most dynamic rock music you’ll hear this side of the century.



..::TRACK-LIST::..

1. Hypatia 06:09
2. Valley of the Moon 05:20
3. Comet of Gold 05:08
4. Echoes of Journeys Past 04:17
5. Path to Nowhere (Elysian Fields) 04:24
6. Moondance 01:38
7. Mystic Mountain 09:28
I. The Gates of the Destroyer
II. Transformation
III. Return to Forever
IV. Stardust



..::OBSADA::..

Herman Holen - Drums and percussion
Christoffer Bråthen - Vocals, guitars, bass and Korg MS20
Jonas Bye - Bass

Additional voice and instruments by Eirik Wojtko Nilsen - Choir (Hypatia, Path), Polysix and Korg MS20 (Valley).




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ten album jest niewiarygodny. Riffy, melodie, atmosfera, piękne wokale... Doskonała muzyka rockowa od początku do końca!



It’s been five years since Flight released A Leap Through Matter, but the group’s third album gets right back on their growing heavy retro prog style. Echoes of Journeys Past looks to be an especially spry listen, sitting at a lean thirty-six minutes and coming right out of the gate with two charging numbers. It might be a stretch to think of “Hypatia” or “Valley of the Moon” as any sort of metal, but there’s synergy in those crackling guitars, airy keys, echoing vocals, and speedy rhythms. The latter especially stands out for its jubilant chorus and Captain Beyond-esque bits of spoken word.

From there, the rest of the album leans even further into those prog and AOR tendencies. “Comet of Gold” is an abrupt change of pace with its dreamy atmosphere and gradual build make it feel like a meeting point between Rush and Judas Priest’s mellow sides circa 1976. The title track and “Path to Nowhere (Elysian Fields)” follow that up with upbeat treads that maintain the otherworldly lushness, the latter also putting in the album’s most striking chorus. The closing “Mystic Mountain” suite may not be the most colossal epic around at *only* nine minutes long, but that leaves a lot of room for escalating rhythms, subtly fluctuating speeds, and some electrifying guitar/keyboard trade-offs.

Overall, Echoes of Journeys Past is another winning step in Flight’s appropriately upward trajectory. There’s an argument to be made for A Leap Through Matter being the better album with its more substantial length, but I find this album edges it out for it’s more dynamic explorations and snappier flow. Much like other retro groups like Hallas and Tanith, there’s an earnest enthusiasm that makes the escapism work without seeming hokey. Strongly recommended for those seeking out a pleasant old school journey.

Twisted Psychology


If there's a band susceptible to draw me out of retirement, it's Norway's Flight, which just turned around with its third full-length, Echoes Of Journeys Past...and lemme tell ya, it's a flawlessly upbeat doozie much like 2018's A Leap Through Matter, to the point where the toothsome trio has finally unlocked the heavy metal equivalent of a rare and elusive platinum trophy. In other words, all boxes are checked; melodic musical prowess, maniacal catchiness and mesmerizing enchantment are all featured here, on this seven track ethereal wonder we've been waiting for for so long.

Whereas A Matter Leap focused on outer spatial fantasy, this one feels grounded within the terrestrial realm, sort of an antecedent or prologue to pre pandemic master "flight", when all eyes concentrated on the far-flung stars. Granted, it's much lighter in general, with ulterior emphasis on the hippie drugged 1960s, as opposed to less naive and raucous 1970s, as attested by early A side cuts "Valley Of The Moon" and "Comet Of Gold", which skirt laid back and relaxed mellow vibes inherent to flowers and honeybees instead of galactic cruisers and motor bikes. On the other beckoning hand, Diamond Head-esque opener "Hypatia" and B tiered titular landmark "Echoes Of Journeys Past" duly rip with typical, honky major scaled bliss so prevalent the second go-around (despite 2015's namesake debut still sounding auspicious as Hell).

A further down toned but mellifluously soothing, low-key rocker graced by front man/lone guitarist Christoffer Bråthen entails "Path To Nowhere" (Elysian Fields)". Although it's a far cry from Megadeth's memorable take back in '94, rest assured the hypnosis factor prevails once again, as fluently unorthodox leads pave the way towards a brief strut on green cheese called "Moondance" - in a nonparallel universe or dimension, a soft nod to Michael Jackson's moon walk...

Newly engaged rhythm men Jonas Bye (bass) and Herman Holen (drums) also merit recognition for their funky assistance, notably reaching a predatory apex on nine-and-a-half minute closer "Mystic Mountain", a loose and exploratory exercise in fleet footed wisdom which gracefully completes Echoes Of Journeys Past, an admittedly less punchy, yet every bit as cool and unique offering on behalf of these Nordic bards.

CHAIRTHROWER


As you can regularly hear me argue on Twitter, I firmly believe that the best time for music is now – there’s no need to hold onto the nostalgia for the rose-tinted glory years of bygone eras. But if we frame the discussion around historical importance, nothing in my mind can top the 1970s. Public arts funding and education were at a peak, and a whole wealth of new creative ideas found footing in ways no one was ready for. Funk, disco, punk, metal, prog, hip-hop, electronic music and more all took their first steps during the ’70s – genres that continue to evolve and shape the music that is made and listened to today in countless ways. One such style that is experiencing a small revival is the rock sound of that era, and Flight have masterfully captured the spirit of that snapshot of time.

Formed in Oslo in 2012, Flight released their self-titled debut in 2015, a follow up in 2018 after getting picked up by High Roller Records, and now Echoes of Journeys Past through Dying Victims Productions, one of the leading purveyors of retro throwback. Flight are part of a seemingly endless wave of new Scandinavian throwback rock bands that have created their own scene over the past decade, seeking an homage to a decade that inspired such a wide variety of sounds and ideas in art. This growing movement is so strong in commitment that very famously Opeth, by many once considered among the best death metal bands of all time, have completely abandoned that sound in favour of Mikael Akerfeldt’s love of 1970s progressive rock. If you’re a fan of the contemporary sound of Opeth, or the classic and original sound of bands like Blue Oyster Cult, Rainbow, or Rush, then this new Flight LP is the record for you.

I don’t think the term “70s rock” can really properly be defined as a genre, but I use it to describe Flight because their sound is such an encompassing love letter to the emotional soundscape of the decade. Blending elements of prog rock, hard rock, and proto-metal in a way that feels completely authentic to the time but also incredibly organic and original, Echoes of Journeys Past could credibly be confused with being a long forgotten gem buried for 50 years in the back of a Norwegian record shop. Vocalist Christoffer Bråthen’s voice is like a soothing northern breeze, gently calling out from the heavens to tell tales of space, time and magic. The band has a lyrical approach to fantasy that emits an aura of pulp and myth intertwined – if Flight had actually been a band back in 1978 I can absolutely guarantee you they would have inspired at least one person to spraypaint a wizard on their van.

Bråthen is also the band’s guitarist and synth programmer, and his playing clearly draws from an incredible wellspring of inspiration. His guitar tone is incredibly clean and sleek, brightly singing alongside his actual vocal delivery, delivering tasty licks between chorus refrains, or dancing in the cosmic reaches of a world just beyond our fingertips. The synths are even brighter and stand out as pinpricks of light like distant stars in the black emptiness. Every instrument is given an incredible amount of space, and that is in part thanks to the relative simplicity of the bands lineup – Bråthen on vox, guitar, and synth, with Jonas Bye on bass alongside drummer Herman Holen.

The title track is arguably the strongest on the record and my personal favourite – it is dynamic as hell, full of rockin’ groove that just won’t stop pulsing and moving. But the chorus is a standout, shining like golden honey in the sun, so sweet and I can’t get enough of it before it dives into an incredibly soulful and tasty guitar solo. The track is genuinely addicting and fresh as a summer breeze. The other standout is album closer “Mystic Mountain” – led in by instrumental interlude “Moondance”, “Mystic Mountain” is an appropriately epic 10-minute suite split into four parts. What could get more prog than a four part closer stuffed into one track? It certainly feels like an epic journey, wandering and drifting across an entire adventure of rock that ascends to a powerful climax to seal the scant 36 minutes of the record.

The layers on Echoes of Journeys Past are simple. With only one guitar and barely any overdrive or distortion, it never feels too busy or overwhelming – you can feel the groove of the bass and pop of the drums beneath the rest of the performances. This is key to Flight’s success in not only recapturing the sounds of the past, but also making their own music and original and highly effective compositional skills feel fully fleshed out. Being able to easily absorb and appreciate the drum fills, guitar licks or the general craft of the songs makes them feel incredibly strong as both art but also sticky tracks, the songs are simply endearing. The guitar solos are scorching hot when they come, surrounded by a revving intensity from the rest of the sound to emphasize the power this band has hidden betwixt their swords and potions.

THE BOTTOM LINE

Flight are unashamedly proud of their worship of one of the greatest decades in music history, but it doesn’t stop them from pushing their own sound into new and interesting places. While they do have one eye on the past, their interest in the future of has created some of the most dynamic rock music you’ll hear this side of the century.



..::TRACK-LIST::..

1. Hypatia 06:09
2. Valley of the Moon 05:20
3. Comet of Gold 05:08
4. Echoes of Journeys Past 04:17
5. Path to Nowhere (Elysian Fields) 04:24
6. Moondance 01:38
7. Mystic Mountain 09:28
I. The Gates of the Destroyer
II. Transformation
III. Return to Forever
IV. Stardust



..::OBSADA::..

Herman Holen - Drums and percussion
Christoffer Bråthen - Vocals, guitars, bass and Korg MS20
Jonas Bye - Bass

Additional voice and instruments by Eirik Wojtko Nilsen - Choir (Hypatia, Path), Polysix and Korg MS20 (Valley).




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po siedmioletniej przerwie jaka upłynęła od wydania ostatniej płyty „The Order” – przerwie spowitej cieniem i ciszą – grecki kwartet ponownie wznieca ogień, który nigdy nie przestał się tlić. Na „The Illuminant” grupa odradza się niczym feniks, powracając do charakterystycznej dla siebie atmosfery, spowitej mrokiem oraz ezoteryką.

Album odznacza się doniosą ewolucją w brzmieniu, zabierającą nas w „otchłań oraz głębiny emocji, gdzie skrajność spotyka się z melodią, a to co niewidoczne zostaje zamanifestowane,” komentuje założyciel i gitarzysta grupy, George Emmanuel (ex-Rotting Christ, ex-Chaostar, Necromantia). „To intensywna podróż odziana w czerń, niepokój i melodyjną materię. Osiem bluźnierczych pieśni, będących tak rozliczeniem, jak objawieniem; ogniem, który pochłania, ale także odnawia.”

„The Illumimnant” został wyprodukowany, zmiksowany i zmasterowany przez George’a Emmanuela w Pentagram Studio (Demonical, Septicflesh, Necromantia), z wyjątkiem perkusji, która została nagrana w Pale Blue Dot Studios. Okładka albumu została ręcznie narysowana przez Daniele Valeriani (Dark Funeral, Mayhem).

LUCIFER’S CHILD wywodzi się z Aten i gra atmosferyczny black metal. Powstał w 2013 z inicjatywy Georga Emmanuela (ex-Rotting Christ, ex-Chaostar, Necromantia) oraz Stathisa Ridis’a (ex-Nightfall). W krótkim czasie do składu dołączyli wokalista Marios Dupont (Karma Violens) i perkusista Nick Vell (Chaostar). Ich debiutancki krążek został ciepło przyjęty, co zaowocowało występami na festiwalach, w tym na Inferno Festival (Norwegia), Blastfest (Norwegia) oraz Incineration Festival (Wielkia Brytania). Zespół wystąpił także na francuskim Hellfest, rok po wydaniu drugiego albumu, „The Order”. Album cechuje się klasycznym podejściem do black metalu oraz mroczną estetyką, co dodatkowo podkreśliła okładka autorstwa Daniele Valeriani. Zespół nagrał teledysk do tytułowego utworu, który został wyświetlony ponad sto tysięcy razy na YouTube oraz ponad pięćset tysięcy razy na Spotify. Dyskografię LUCIFER’S CHILD zamyka split z Mystifier wydany w 2022. Na „The Illuminant” usłyszymy nowego basistę, Kostas’a Gerochrristosa. To pierwsza modyfikacja składu od czasu powstania zespołu.



After a seven year slumber which LUCIFER'S CHILD slipped into following its last full-length record "The Order" - a slumber veiled in shadow and silence - the Greek black metal quartet reawakens the fire which never fully ceased to burn or amaze. In a phoenix-like reprise, the group channels the heights of its esoteric ponder and the depths of its harrowing despair into "The Illuminant".

The album marks a profound evolution in LUCIFER's CHILD sound, aspiring to "a journey deeper into the abyss and the emotions, where the extreme meets the melodic, and the unseen becomes manifest," points out co-founder/guitarist George Emmanuel (ex-Rotting Christ, ex-Chaostar, Necromantia). "Our new album represents a bold evolution in our sound. It is an intense journey that blends the dark, the emotion, and the melody. With eight blasphemous tracks, it is both a reckoning and a revelation, a fire that consumes but also renews. This is our revelation, and we can’t wait to share its intensity across the stages."

"The Illumimnant" was produced, mixed and mastered by George Emmanuel at Pentagram Studio (Demonical, Septicflesh, Necromantia) with the exception of drums which were recorded at Pale Blue Dot Studios. The album's cover artwork was hand-drawn by Daniele Valeriani (Dark Funeral, Mayhem).



..::TRACK-LIST::..

1. Antichrist 04:24
2. As Bestas 05:11
3. The Serpent And The Rod 03:35
4. Ichor 06:57
5. Righteous Flama 04:16
6. Curse 05:04
7. The Heavens Die 04:58
8. And All Is Prelude 04:37



..::OBSADA::..

George Emmanuel - Guitars
Marios Dupont - Vocals
Nick Vell - Drums
Kostas Gerochristos - Bass




https://www.youtube.com/watch?v=24qbppFM9Bs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Po siedmioletniej przerwie jaka upłynęła od wydania ostatniej płyty „The Order” – przerwie spowitej cieniem i ciszą – grecki kwartet ponownie wznieca ogień, który nigdy nie przestał się tlić. Na „The Illuminant” grupa odradza się niczym feniks, powracając do charakterystycznej dla siebie atmosfery, spowitej mrokiem oraz ezoteryką.

Album odznacza się doniosą ewolucją w brzmieniu, zabierającą nas w „otchłań oraz głębiny emocji, gdzie skrajność spotyka się z melodią, a to co niewidoczne zostaje zamanifestowane,” komentuje założyciel i gitarzysta grupy, George Emmanuel (ex-Rotting Christ, ex-Chaostar, Necromantia). „To intensywna podróż odziana w czerń, niepokój i melodyjną materię. Osiem bluźnierczych pieśni, będących tak rozliczeniem, jak objawieniem; ogniem, który pochłania, ale także odnawia.”

„The Illumimnant” został wyprodukowany, zmiksowany i zmasterowany przez George’a Emmanuela w Pentagram Studio (Demonical, Septicflesh, Necromantia), z wyjątkiem perkusji, która została nagrana w Pale Blue Dot Studios. Okładka albumu została ręcznie narysowana przez Daniele Valeriani (Dark Funeral, Mayhem).

LUCIFER’S CHILD wywodzi się z Aten i gra atmosferyczny black metal. Powstał w 2013 z inicjatywy Georga Emmanuela (ex-Rotting Christ, ex-Chaostar, Necromantia) oraz Stathisa Ridis’a (ex-Nightfall). W krótkim czasie do składu dołączyli wokalista Marios Dupont (Karma Violens) i perkusista Nick Vell (Chaostar). Ich debiutancki krążek został ciepło przyjęty, co zaowocowało występami na festiwalach, w tym na Inferno Festival (Norwegia), Blastfest (Norwegia) oraz Incineration Festival (Wielkia Brytania). Zespół wystąpił także na francuskim Hellfest, rok po wydaniu drugiego albumu, „The Order”. Album cechuje się klasycznym podejściem do black metalu oraz mroczną estetyką, co dodatkowo podkreśliła okładka autorstwa Daniele Valeriani. Zespół nagrał teledysk do tytułowego utworu, który został wyświetlony ponad sto tysięcy razy na YouTube oraz ponad pięćset tysięcy razy na Spotify. Dyskografię LUCIFER’S CHILD zamyka split z Mystifier wydany w 2022. Na „The Illuminant” usłyszymy nowego basistę, Kostas’a Gerochrristosa. To pierwsza modyfikacja składu od czasu powstania zespołu.



After a seven year slumber which LUCIFER'S CHILD slipped into following its last full-length record "The Order" - a slumber veiled in shadow and silence - the Greek black metal quartet reawakens the fire which never fully ceased to burn or amaze. In a phoenix-like reprise, the group channels the heights of its esoteric ponder and the depths of its harrowing despair into "The Illuminant".

The album marks a profound evolution in LUCIFER's CHILD sound, aspiring to "a journey deeper into the abyss and the emotions, where the extreme meets the melodic, and the unseen becomes manifest," points out co-founder/guitarist George Emmanuel (ex-Rotting Christ, ex-Chaostar, Necromantia). "Our new album represents a bold evolution in our sound. It is an intense journey that blends the dark, the emotion, and the melody. With eight blasphemous tracks, it is both a reckoning and a revelation, a fire that consumes but also renews. This is our revelation, and we can’t wait to share its intensity across the stages."

"The Illumimnant" was produced, mixed and mastered by George Emmanuel at Pentagram Studio (Demonical, Septicflesh, Necromantia) with the exception of drums which were recorded at Pale Blue Dot Studios. The album's cover artwork was hand-drawn by Daniele Valeriani (Dark Funeral, Mayhem).



..::TRACK-LIST::..

1. Antichrist 04:24
2. As Bestas 05:11
3. The Serpent And The Rod 03:35
4. Ichor 06:57
5. Righteous Flama 04:16
6. Curse 05:04
7. The Heavens Die 04:58
8. And All Is Prelude 04:37



..::OBSADA::..

George Emmanuel - Guitars
Marios Dupont - Vocals
Nick Vell - Drums
Kostas Gerochristos - Bass




https://www.youtube.com/watch?v=24qbppFM9Bs



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

..::INFO::..

Chaos UK to siła, z którą należy się liczyć w świecie punk rocka! Powstała w 1979 roku w Portishead w Somerset, ta ikoniczna grupa, prowadzona przez tajemniczego wokalistę znanego po prostu jako Chaos, na zawsze zapisała się w annałach historii anarcho-punka. Z dźwiękiem, który jest nieprzepraszająco szybki, surowy i konfrontacyjny, wyróżnili się jako przedstawiciele brytyjskiej sceny anarcho-punk w latach 80. Chaos UK to nie tylko byt muzyczny - to zjawisko kulturowe, które przesiąka swoją muzykę społecznie świadomymi tekstami i surową postawą, która głęboko koresponduje z ich zagorzałymi fanami. Ta reputacja sprawiła, że zyskali popularność nie tylko w Wielkiej Brytanii, ale także wywarli wpływ za granicą, szczególnie w Japonii, gdzie ich agresywny dźwięk zapalił scenę muzyki noise. Wstawka zawiera split z japońskim Death Side.

Title: Death Side & Chaos U.K

Artist: Chaos UK

Country: Wielka Brytania & Japonia

Year: 1993

Genre: Punk

Format / Codec: MP3

Audio bitrate: 192 Kbps

..::TRACK-LIST::..

1.Death Side - Trust
2.Death Side - Cry For The Trust
3.Death Side - No Force
4.Death Side - First And Last
5.Death Side - Satisfied Life
6.Death Side - Where Are Your Eyes?
7.Death Side - Try
8.Death Side - Corpse
9.Death Side - 気 迫
10.Chaos UK - Secret Men
11.Chaos UK - Goverments Nears
12.Chaos UK - Edge Of The Knife
13.Chaos UK - Lying On Your Side
14.Chaos UK - Only Time Will Tell
15.Chaos UK - Making A Shilling
16.Chaos UK - Jobs Worth
17.Chaos UK - Farmyard
18.Chaos UK - Drunk Again

..::INFO::..

Halo on the Inside to siódmy album studyjny amerykańskiej wokalistki Haley Fohr, występującej pod pseudonimem Circuit des Yeux. Został wydany 14 marca 2025 roku nakładem Matador Records.

Title: Halo On The Inside

Artist: Circuit Des Yeux

Country: USA

Year: 2025

Genre: Alternatywna

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Megaloner
2.Canopy of Eden
3.Skeleton Key
4.Anthem of Me
5.Cosmic Joke
6.Cathexis
7.Truth
8.Organ Bed
9.It Takes My Pain Away

..::INFO::..

Debiutancki album amerykańskiego zespołu soulowego, który powstał i został wydany po czterdziestu latach od daty rozpoczęcia działalności.

Title: Can't Lose My [Soul]

Artist: Annie And The Caldwells

Country: USA

Year: 2025

Genre: Soul

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Wrong
2.Can't Lose My Soul
3.I Made It
4.Don't You Hear Me Calling
5.I'm Going To Rise
6.Dear Lord
7.Wrong (You Dropped a Bomb)

...( Info )...

Artist: Various Artists
Album: Anos 80 e 90
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Lulu Santos - Tempos modernos
02. Brylho - Noite do prazer
03. Kid Abelha - Como eu quero
04. Nando Reis - All Star
05. Barão Vermelho - Por você
06. Simply Red - Stars
07. Faith No More - Easy
08. Spandau Ballet - True (12'' Mix)
09. Red Hot Chili Peppers - Under the Bridge
10. Green Day - Good Riddance (Time of Your Life)
11. Blur - Coffee and TV
12. Zélia Duncan - Quase sem querer
13. Elis Regina - Alô, alô Marciano
14. THE GOO GOO DOLLS - Iris
15. Secos & Molhados - Sangue latino
16. Lulu Santos - Um certo alguém
17. Pepeu Gomes - Eu também quero beijar
18. Baby Consuelo - Telúrica
19. Titãs - Sonífera Ilha
20. Jorge Ben Jor - W Brasil (Chama o síndico)
21. Ed Motta - Baixo rio
22. Kid Abelha - Na rua, na chuva, na fazenda (Casinha de Sapé)
23. Alanis Morissette - Ironic (2015 Remaster)
24. Barão Vermelho - Amor mue grande amor
25. Léo Jaime - Preciso dizer que te amo

...( Info )...

Artist: Various Artists
Album: Best 10s Country
Year: 2025
Genre: Country
Format: mp3 320 kbps

...( TrackList )...

01. Blake Shelton - God’s Country
02. Ashley McBryde - One Night Standards
03. Zach Bryan - Heading South
04. Ingrid Andress - More Hearts than Mine
05. Dan + Shay - 10,000 Hours
06. Bebe Rexha - Meant to Be (feat. Florida Georgia Line)
07. Kenny Chesney - Tip of My Tongue
08. Brett Eldredge - Wanna Be That Song
09. Hunter Hayes - Wanted
10. Brandy Clark - Big Day in a Small Town
11. Kid Rock - Collide (feat. Sheryl Crow & Bob Seger)
12. Big & Rich - Fake ID (feat. Gretchen Wilson)
13. Jason Isbell - God Is a Working Man
14. Brandi Carlile - The Joke
15. High Valley - Grew Up on That
16. RaeLynn - Lonely Call
17. Sheryl Crow - Easy
18. Sturgill Simpson - In Bloom
19. The JaneDear Girls - Wildflower
20. The Dirt Drifters - Hurt Somebody
21. Ashley Monroe - On to Something Good
22. NEEDTOBREATHE - Brother
23. Faith Hill - American Heart
24. Cody Johnson - Long Haired Country Boy (feat. The Rockin' CBJ)
25. Meghan Patrick - Thanks to You
26. Cole Swindell - Flatliner (feat. Dierks Bentley)
27. Randy Travis - Everything and All
28. Kenny Rogers - Dreams of the San Joaquin
29. Jim Cuddy - Beauty and Rage
30. The Last Bandoleros - River Man (Acoustic Sessions)
31. Frankie Ballard - It All Started with a Beer
32. HER & Kings County - White Trash (Country Boy)
33. Morgan Evans - Kiss Somebody
34. Shawn Camp - Worn Through Stone
35. Mason Ramsey - Before I Knew It
36. James Otto - Groovy Little Summer Song
37. Morgane Stapleton - You Are My Sunshine (feat. Chris Stapleton)
38. Devin Dawson - All on Me
39. The Farm Inc. - Nowhere Road
40. Josh Abbott Band - Hangin' Around
41. William Michael Morgan - Vinyl
42. Brett Kissel - Country in My Blood
43. Ladies Of The Canyon - Make Room in Your Heart
44. The Abrams - Good Old Days
45. The Washboard Union - Livin Outta Livin
46. Paul Brandt - All About Her
47. Chris Janson - Country USA
48. Gloriana - Soldier Song
49. Michael Ray - Think a Little Less
50. The Highwomen - Highwomen
51. Charlie Worsham - Trouble Is
52. Jana Kramer - I Got the Boy
53. Smo - Workin' (feat. Alexander King)
54. Ty Stone - Blessed St. Anthony
55. Blue Rodeo - God and Country (2012 Remaster)

...( Info )...
17th July 2005, one of Australia's legendary rock groups reunited on stage for a gig at famed Sydney venue - The Basement. Originally formed at the height of Australia's progressive rock movement during the early 1970's, the band's music has stood the test of time. Driven by the powerful bass lines of internationally acclaimed musician Bod Daisley (Ozzy Osbourne, Rainbow, Gary Moore, Uriah Heap), the high tense dual guitar attack of Dennis Wilson and Tim Gaze and the mighty beat of drummer Mark Marriot - this is blues based heavy rock at its absolute finest!

Kahvas Jute – Then Again

Label: Warner Music Australia – BASE014, Thompson Music – BASE014
Format: MPG Video - FLAC
Country: Australia
Released: 2006
Genre: Classic Rock

...( TrackList )...
Then Again Live At The Basement
DVD-1 Intro
DVD-2 Free
DVD-3 Ain't No Pleasing You
DVD-4 Somebody Do Something
DVD-5 She's So Hard To Shake
DVD-6 What Have I Done To Deserve This
DVD-7 Ascend
DVD-8 Ascension
DVD-9 The Quickening
DVD-10 Vikings
DVD-11 Could Be Anyone
DVD-12 The Blues Just Got Sadder
DVD-13 Parade Of Fools
DVD-14 Politician
DVD-15 End Credits

Then Again Bonus Vision
DVD-16 The Nazz Are Blue
DVD-17 Interview With Glenn A. Baker
DVD-18 Interview With The Band

The Quickening Bonsu Live & Studio Recordings
CD-1 Somebody Do Something
CD-2 Could Be Anyone
CD-3 The Quickening
CD-4 What Have I Done To Deserve This
CD-5 The Blues Just Got Sadder
CD-6 Ain't No Plesaing You
CD-7 Somebody Do Something (Live)
CD-8 Could Be Anyone (Live)
CD-9 The Quickening (Live)
CD-10 What Hae I Done To Deserve This (Live)
CD-11 The Blues Just Got Sadder (Live)
CD-12 Ain't No Pleasing You (Live)

..::INFO::..

---------------------------------------------------------------------
Roy Orbison - The All-Time Greatest Hits
---------------------------------------------------------------------

Artist...............: Roy Orbison
Album................: The All-Time Greatest Hits
Genre................: Pop
Source...............: CD
Year.................: 1989
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 60 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: CBS

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

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

1. Roy Orbison - Only The Lonely [02:30]
2. Roy Orbison - Leah [02:42]
3. Roy Orbison - In Dreams [02:51]
4. Roy Orbison - Uptown [02:09]
5. Roy Orbison - It's Over [02:50]
6. Roy Orbison - Crying [02:48]
7. Roy Orbison - Dream Baby [02:35]
8. Roy Orbison - Blue Angel [02:53]
9. Roy Orbison - Working For The Man [02:29]
10. Roy Orbison - Candy Man [02:47]
11. Roy Orbison - Running Scared [02:15]
12. Roy Orbison - Falling [02:25]
13. Roy Orbison - Love Hurts [02:30]
14. Roy Orbison - Shahdaroba [02:43]
15. Roy Orbison - I'm Hurtin' [02:46]
16. Roy Orbison - Mean Woman Blues [02:28]
17. Roy Orbison - Pretty Paper [02:48]
18. Roy Orbison - The Crowd [02:25]
19. Roy Orbison - Blue Bayou [02:30]
20. Roy Orbison - Oh, Pretty Woman [02:58]

Playing Time.........: 52:23
Total Size...........: 320,28 MB

..::INFO::..

---------------------------------------------------------------------
Traveling Wilburys - The Traveling Wilburys Collection (2 CD)
---------------------------------------------------------------------

Artist...............: Traveling Wilburys
Album................: The Traveling Wilburys Collection
Genre................: Pop
Source...............: CD
Year.................: 2007
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 68 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Rhino

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

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

1. Traveling Wilburys - Handle With Care [03:19]
2. Traveling Wilburys - Dirty World [03:29]
3. Traveling Wilburys - Rattled [02:59]
4. Traveling Wilburys - Last Night [03:51]
5. Traveling Wilburys - Not Alone Any More [03:24]
6. Traveling Wilburys - Congratulations [03:29]
7. Traveling Wilburys - Heading for the Light [03:36]
8. Traveling Wilburys - Margarita [03:16]
9. Traveling Wilburys - Tweeter and the Monkey Man [05:27]
10. Traveling Wilburys - End of the Line [03:29]
11. Traveling Wilburys - Maxine [02:48]
12. Traveling Wilburys - Like a Ship [03:30]

Playing Time.........: 42:42
Total Size...........: 291,90 MB

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

1. Traveling Wilburys - She's My Baby [03:14]
2. Traveling Wilburys - Inside Out [03:35]
3. Traveling Wilburys - If You Belonged to Me [03:13]
4. Traveling Wilburys - The Devil's Been Busy [03:18]
5. Traveling Wilburys - 7 Deadly Sins [03:17]
6. Traveling Wilburys - Poor House [03:16]
7. Traveling Wilburys - Where Were You Last Night? [03:03]
8. Traveling Wilburys - Cool Dry Place [03:37]
9. Traveling Wilburys - New Blue Moon [03:20]
10. Traveling Wilburys - You Took My Breath Away [03:18]
11. Traveling Wilburys - Wilbury Twist [02:58]
12. Traveling Wilburys - Nobody's Child [03:28]
13. Traveling Wilburys - Runaway [02:30]

Playing Time.........: 42:11
Total Size...........: 303,61 MB

...( Info )...

Gatunek: Rap, Hip-Hop
Format/Kodek: mp3
Birate: 320 kbps
Liczba kanałów: 2

...( TrackList )...

1. Najlepszy Dzień
2. Gulasz
3. Ewa Farna Feat. Żabson
4. Trap Queen

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



DVD 9
NTSC
16:9
DD 2.0



..::TRACK-LIST::..

Live At Paradiso Recorded live at Paradiso, Amsterdam, the Netherlands on the 4th of May, 2006

1. Hunab K'u - A New Age Dawns (Prologue)
2. Dance Of Fate
3. Sensorium
4. The Last Crusade - A New Age Dawns (Part I)
5. Solitary Ground
6. Force Of The Shore
7. Quietus
8. Linger
9. Blank Infinity
10. Crystal Mountain
11. Seif Al Din - The Embrace That Smothers (Part VI)
12. Façade Of Reality - The Embrace That Smothers (Part V)
13. Trois Vierges
14. Another Me 'In Lack'ech'
15. The Phantom Agony
16. Cry For The Moon - The Embrace That Smothers (Part IV)
17. Run For A Fall
18. Mother Of Light - A New Age Dawns (Part II)
19. Consign To Oblivion - A New Age Dawns (Part III)




https://www.youtube.com/watch?v=4WhqE7lPxno



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

DVD 5
NTSC
4:3
DD 2.0

Death metalowy atak najwyższej jakości!!!



..::TRACK-LIST::..

Autopsy Live - Rotterdam, Holland 1990:
1. Disembowel
2. Retribution For The Dead
3. Embalmed
4. Destined To Fester
5. Gasping For Air
6. In The Grip Of Winter
7. Charred Remains
8. Ridden With Disease

Autopsy Live - San Pedro, California 1991:
9. Twisted Mass Of Burnt Decay
10. In The Grip Of Winter
11. Gasping For Air
12. Severed Survival
13. Hole In The Head
14. Fleshcrawl
15. Torn From The Womb
16. Fiend For Blood
17. Service For A Vacant Coffin
18. Embalmed
19. Destined To Fester
20. Robbing The Grave
21. Charred Remains



https://www.youtube.com/watch?v=BGBg3dAGKZk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To nie jest żadne funky gotowe bujać się z Filonem, ani żaden funczek w typie Mateusza Krautwursta, taki w sam raz do pilatesu. I przekonuje o tym otwierające "Milk", które zaczyna się jakby ktoś przerzucał szuflą węgiel, potem przynosi przemysłową, nieokrzesaną wibrację i zdeformowany, robotyczny blues.




P.Unity to niesamowita fuzja funku, soulu, jazzu i rapu, a ich pierwszy album usatysfakcjonuje najbardziej wybrednych słuchaczy.

'Pulp' to wyczekiwany od dawna debiut zespołu P.Unity! Debiut obok, którego nie da się przejść obojętnie.

5 października światło dzienne ujrzy długogrający debiut zespołu P.Unity. Zespół dał się już poznać jako niezwykła fuzja funku, soulu, jazzu, psychodelii i rapu. Na koncie swym ma już szereg niezapomnianych koncertów, owocną
współpracę z Michałem Urbaniakiem oraz kilka mniejszych wydawnictw (m.in. EPka „Mango”).

Pierwszym singlem z płyty jest „Milk”, który jest zarazem oryginalnym intrem do świata P.Unity. Na albumie „Pulp” znaleźć można w sumie 12 premierowych utworów. Nie było potrzeby zapraszać zbyt wielu gości, gdyż płyta nagrana została w pełnym 10 osobowym składzie zespołu. Pojawia się dodatkowo jedynie Kuba Knap w kolejnym singlu – „FUNKJEST”.

Okładka to zdjęcie Moniki Orpik, a okładkę złożyła (i dołożyła piękne grafiki) Zuzanna Kofta. Za miks całości odpowiada Envee, a mastering popełnił Eprom.
Warto dodać, że płyta wychodzi w kooperacji U Know Me Records i Funky Mamas and Papas Recordings, a za dystrybucję CD odpowiada Asfalt Distro.
Wsparcie medialne: Aktivist, Going., Jazz Forum i SoulBowl.

P.Unity to dziesięcioosobowy (!), warszawski projekt osadzony w funkowej stylistyce. Zainspirowani działalnością artystów spod znaku Parliament/Funkadelic, mniej popowymi dokonaniami Prince’a czy koncertowym dorobkiem D’Angelo i Soultronics, muzycy chcą odczarować obraz funku rozumianego dziś często jako easy-listeningowe brzmienie rodem z dyskotek statków wycieczkowych. Funk P.Unity to nie cekiny i brokatowe dzwony – to ukłon w stronę psychodelicznego oblicza George’a Clintona i brudnych brzmień Sly & The Family Stone, to bardziej nieuchwytny nastrój niż czysto techniczne określenie gatunkowe. Zespół buduje swoje brzmienie czerpiąc również z dorobku licznych spadkobierców funkowej stylistyki – od hiphopowych gigantów jak Snoop Dogg czy A Tribe Called Quest, przez neosoulową scenę spod znaku Soulquarians, po beatowych i elektronicznych innowatorów skupionych wokół labelu Brainfeeder. Nie brakuje też wpływów jazzu, na którym wychowała się spora część grupy.

P.Unity funkcjonuje w niemal niezmienionym składzie od 2014 roku. Zespół ma na koncie dobrze przyjętą EPkę „Mango” (2017), która otworzyła grupie drzwi na wiele polskich scen. Materiał dotarł również do legendy polskiego jazzu – Michała Urbaniaka, który zaprosił P.Unity do współpracy przy ostatnim albumie projektu Urbanator Days – „Beats & Pieces”. Na krążek trafiły dwa utwory zaaranżowane i nagrane przez zespół – „P.Lex” i „Wasabi Vibe” i zostały docenione przez polskie media. Aktualnie P.Unity pracuje nad pierwszym albumem długogrającym – „Pulp”, który ukaże się jesienią nakładem U Know Me Records. Mimo wciąż powiększającego się dorobku studyjnego grupa najpewniej czuje się w warunkach koncertowych. Ostatnio zespół został świetnie przyjęty na festiwalach Spring Break (Poznań) i GoodVibe (Koszalin) oraz występach klubowych w Krakowie, Lublinie, Łodzi i Warszawie. Kolejna trasa już wkrótce...



P.Unity is launching its first full length record, Pulp, on the Friday the 5th of October 2018. "Pulp" features 12 tracks of P.Unity’s unique blend of funk, soul, jazz, psychedelia and hip hop. The release cements the 10-piece band’s place on the Polish scene, building off of their earlier recorded efforts, energetic performances and an acclaimed collaboration with one of elder statesmen of the Polish Jazz scene, Michał Urbianiak.

"Pulp" was recorded and mixed by Envee and mastered by Eprom. The album cover features photography by Monika Orpik, Zuzanna Kofta was responsible for the booklet and graphic design of the whole.
"Pulp" is released in partnership by U Know Me Records and Funky Mamas and Papas Recordings.

P.Unity is a ten-piece, funk-oriented band based in Warsaw, Poland. Inspired by acts from the Parliament/Funkadelic family, less poppy side of Prince and live work of D’Angelo and Soultronics, the group aims at overturning the understanding of funk as an easy-listening sound of cruise liner’s discos. P.Unity’s funk has nothing to do with spangles and glittery flare-pants- it is a tribute to the psychedelic side of George Clinton and gritty sounds of Sly & The Family Stone. For P.Unity funk is more of an indefinable vibe than straight technical term of genre. The band also draws on the legacy of funk’s successors- from hiphop giants like Snoop Dogg or A Tribe Called Quest, through neosoul artists centered around Soulquarians, to the young electronic beats scene of Brainfeeder. The band does not avoid jazz influences, that were present in group members’ musical paths from early age.

P.Unity works in an almost unchanged lineup since 2014. The group released their debut Mango EP (2017), that made band’s way to many live venues. The record reached a Polish jazz legend Michał Urbaniak, who invited P.Unity to work with him on the last Urbanator Days album „Beats & Pieces”. The LP contained two tracks arranged and recorded by the band- „P.Lex” and „Wasabi Vibe” were appreciated by Polish media. Currently P.Unity works on their first longplay „Pulp” that will come out in fall via U Know Me Records. Despite a growing studio experience the group shows it’s best in a live set up. The band was well-received at live shows across Poland. New tour is coming soon…



..::TRACK-LIST::..

1. Milk 03:27
2. Something 03:39
3. Changes 03:34
4. 1 04:35
5. Philosophy 03:27
6. W.V.O. 01:41
7. Rivers Up In The Wild 04:34
8. Soulschool 04:01
9. FUNKJEST feat. Kuba Knap 04:21
10. Klan 06:09
11. Streets 05:04
12. Mother 04:26



..::OBSADA::..

Jędrzej Dudek - vocals
Maciej Sondij - guitar
Miłosz Oleniecki - keys
Rafał Dutkiewicz - drums
Adrian Manowski - bass
Michał Łuka - saxophone
Radek Nowak - trumpet
Witold Haliniak - trombone
Sara Jaroszyk - backing vocals
Weronika Grzesiewicz - backing vocals



https://www.youtube.com/watch?v=8SQd5DVxm3M


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To nie jest żadne funky gotowe bujać się z Filonem, ani żaden funczek w typie Mateusza Krautwursta, taki w sam raz do pilatesu. I przekonuje o tym otwierające "Milk", które zaczyna się jakby ktoś przerzucał szuflą węgiel, potem przynosi przemysłową, nieokrzesaną wibrację i zdeformowany, robotyczny blues.




P.Unity to niesamowita fuzja funku, soulu, jazzu i rapu, a ich pierwszy album usatysfakcjonuje najbardziej wybrednych słuchaczy.

'Pulp' to wyczekiwany od dawna debiut zespołu P.Unity! Debiut obok, którego nie da się przejść obojętnie.

5 października światło dzienne ujrzy długogrający debiut zespołu P.Unity. Zespół dał się już poznać jako niezwykła fuzja funku, soulu, jazzu, psychodelii i rapu. Na koncie swym ma już szereg niezapomnianych koncertów, owocną
współpracę z Michałem Urbaniakiem oraz kilka mniejszych wydawnictw (m.in. EPka „Mango”).

Pierwszym singlem z płyty jest „Milk”, który jest zarazem oryginalnym intrem do świata P.Unity. Na albumie „Pulp” znaleźć można w sumie 12 premierowych utworów. Nie było potrzeby zapraszać zbyt wielu gości, gdyż płyta nagrana została w pełnym 10 osobowym składzie zespołu. Pojawia się dodatkowo jedynie Kuba Knap w kolejnym singlu – „FUNKJEST”.

Okładka to zdjęcie Moniki Orpik, a okładkę złożyła (i dołożyła piękne grafiki) Zuzanna Kofta. Za miks całości odpowiada Envee, a mastering popełnił Eprom.
Warto dodać, że płyta wychodzi w kooperacji U Know Me Records i Funky Mamas and Papas Recordings, a za dystrybucję CD odpowiada Asfalt Distro.
Wsparcie medialne: Aktivist, Going., Jazz Forum i SoulBowl.

P.Unity to dziesięcioosobowy (!), warszawski projekt osadzony w funkowej stylistyce. Zainspirowani działalnością artystów spod znaku Parliament/Funkadelic, mniej popowymi dokonaniami Prince’a czy koncertowym dorobkiem D’Angelo i Soultronics, muzycy chcą odczarować obraz funku rozumianego dziś często jako easy-listeningowe brzmienie rodem z dyskotek statków wycieczkowych. Funk P.Unity to nie cekiny i brokatowe dzwony – to ukłon w stronę psychodelicznego oblicza George’a Clintona i brudnych brzmień Sly & The Family Stone, to bardziej nieuchwytny nastrój niż czysto techniczne określenie gatunkowe. Zespół buduje swoje brzmienie czerpiąc również z dorobku licznych spadkobierców funkowej stylistyki – od hiphopowych gigantów jak Snoop Dogg czy A Tribe Called Quest, przez neosoulową scenę spod znaku Soulquarians, po beatowych i elektronicznych innowatorów skupionych wokół labelu Brainfeeder. Nie brakuje też wpływów jazzu, na którym wychowała się spora część grupy.

P.Unity funkcjonuje w niemal niezmienionym składzie od 2014 roku. Zespół ma na koncie dobrze przyjętą EPkę „Mango” (2017), która otworzyła grupie drzwi na wiele polskich scen. Materiał dotarł również do legendy polskiego jazzu – Michała Urbaniaka, który zaprosił P.Unity do współpracy przy ostatnim albumie projektu Urbanator Days – „Beats & Pieces”. Na krążek trafiły dwa utwory zaaranżowane i nagrane przez zespół – „P.Lex” i „Wasabi Vibe” i zostały docenione przez polskie media. Aktualnie P.Unity pracuje nad pierwszym albumem długogrającym – „Pulp”, który ukaże się jesienią nakładem U Know Me Records. Mimo wciąż powiększającego się dorobku studyjnego grupa najpewniej czuje się w warunkach koncertowych. Ostatnio zespół został świetnie przyjęty na festiwalach Spring Break (Poznań) i GoodVibe (Koszalin) oraz występach klubowych w Krakowie, Lublinie, Łodzi i Warszawie. Kolejna trasa już wkrótce...



P.Unity is launching its first full length record, Pulp, on the Friday the 5th of October 2018. "Pulp" features 12 tracks of P.Unity’s unique blend of funk, soul, jazz, psychedelia and hip hop. The release cements the 10-piece band’s place on the Polish scene, building off of their earlier recorded efforts, energetic performances and an acclaimed collaboration with one of elder statesmen of the Polish Jazz scene, Michał Urbianiak.

"Pulp" was recorded and mixed by Envee and mastered by Eprom. The album cover features photography by Monika Orpik, Zuzanna Kofta was responsible for the booklet and graphic design of the whole.
"Pulp" is released in partnership by U Know Me Records and Funky Mamas and Papas Recordings.

P.Unity is a ten-piece, funk-oriented band based in Warsaw, Poland. Inspired by acts from the Parliament/Funkadelic family, less poppy side of Prince and live work of D’Angelo and Soultronics, the group aims at overturning the understanding of funk as an easy-listening sound of cruise liner’s discos. P.Unity’s funk has nothing to do with spangles and glittery flare-pants- it is a tribute to the psychedelic side of George Clinton and gritty sounds of Sly & The Family Stone. For P.Unity funk is more of an indefinable vibe than straight technical term of genre. The band also draws on the legacy of funk’s successors- from hiphop giants like Snoop Dogg or A Tribe Called Quest, through neosoul artists centered around Soulquarians, to the young electronic beats scene of Brainfeeder. The band does not avoid jazz influences, that were present in group members’ musical paths from early age.

P.Unity works in an almost unchanged lineup since 2014. The group released their debut Mango EP (2017), that made band’s way to many live venues. The record reached a Polish jazz legend Michał Urbaniak, who invited P.Unity to work with him on the last Urbanator Days album „Beats & Pieces”. The LP contained two tracks arranged and recorded by the band- „P.Lex” and „Wasabi Vibe” were appreciated by Polish media. Currently P.Unity works on their first longplay „Pulp” that will come out in fall via U Know Me Records. Despite a growing studio experience the group shows it’s best in a live set up. The band was well-received at live shows across Poland. New tour is coming soon…



..::TRACK-LIST::..

1. Milk 03:27
2. Something 03:39
3. Changes 03:34
4. 1 04:35
5. Philosophy 03:27
6. W.V.O. 01:41
7. Rivers Up In The Wild 04:34
8. Soulschool 04:01
9. FUNKJEST feat. Kuba Knap 04:21
10. Klan 06:09
11. Streets 05:04
12. Mother 04:26



..::OBSADA::..

Jędrzej Dudek - vocals
Maciej Sondij - guitar
Miłosz Oleniecki - keys
Rafał Dutkiewicz - drums
Adrian Manowski - bass
Michał Łuka - saxophone
Radek Nowak - trumpet
Witold Haliniak - trombone
Sara Jaroszyk - backing vocals
Weronika Grzesiewicz - backing vocals



https://www.youtube.com/watch?v=8SQd5DVxm3M


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As it turns out, 1990 has been quite possibly the strongest year in the history of Canadian thrash metal. Not only did Razor's punishing and furious Shotgun Justice come out that year, but fellow countrymen, Sacrifice's greatest release, Soldiers of Misfortune also saw the light of day. The two albums don't have anything in common, besides two things. They are both thrash metal and are among the greatest of their kind in the given period. While Razor chose extreme musical anger and violence, Sacrifice walked the path of refinement, sophistication, and precision.

The band decided to go even further into calculated aggression after Sacrifice's real self came to life on the predecessor Forward to Termination. It's not to say that the band was immature on the previous release, because that was an excellent effort. However, this is even better, where the band's career peaked once and for all. The band manages to release massive amounts of frustration and anger, but in such a way that it almost sounds like it's all part of a very intellectually driven, well-articulated 8-page essay in the form of thrash metal. Whether or not this might be thanks to Rob Urbinati's frantic, angry yet very intelligible vocals, or Gus Pynn's metrically flawless percussion that never skips or adds a beat throughout the whole record, this is pretty much as good as this subcategory of thrash metal will get.

Choosing highlights becomes a daunting task when looking at a masterpiece like this. Every song here is worthy of the highest praise, but let's look at the starter "As The World Burns", which takes off at a rather fast tempo, over a simple yet intriguing main riff. The clever two-guitar arrangements are very stylish and effective, and so is the beautiful, coherent guitar solo after the song slows down. Perhaps the song that's the most unlike the rest of the album is "In Defiance", but it's probably also the strongest. This is Sacrifice being a brutality-oriented thrash band for the length of a song, but it only sounds brutal when you compare it to the rest of this same release. It is unbelievably strong with its pummeling double-pedal madness and its simplistic, but all the more catchy riffs. You also have the more than 10-minute-long closer, "Truth (After The Rain)", which is very complex and well beyond most thrash bands, when you look at it from a coherence and technicality point of view. It even closes with a mellow, melodic instrumental section towards the end, that's one of the best closings I've heard to a thrash album. After this record, why not? They demonstrated how coherent and intelligent thrash can be better than nearly anyone this year, so why not cool the jets a little?

It is always thought-provoking to hear these albums from 25, 30, and 35 years ago that sound way better than how nearly anything sounds today. It doesn't make any sense technology-wise, but this is one of those albums. It is crystal clear, as clear as anything in 1990, and it's flawlessly balanced. One interesting element is the snare, which is way rawer and punchier than one that a record like this would typically utilize, but it works very well with the thick and muscular guitar tone. Behind all of this is the bass, which is clean and smooth, matching the whole picture and identity of the record (and the band, by this time).

Few people on Earth love brutality-focused thrash metal like Demolition Hammer, Morbid Saint, Dark Angel, Sadus, Razor, or Gammacide more than I do. Despite that, there is a time and place for Sacrifice's Soldiers of Misfortune among my favorite thrash albums. This is truly a "thinking man's thrash album", with very well-articulated vocal delivery, polished and complex songwriting, and perfect production.

VictimOfScience


By the early nineties, most of the thrash metal bands that had been around for a decade were altering their sound to varying degrees. In many cases, this change meant slowing down significantly or dumbing down the music. Sacrifice, however, managed to refine its sound considerably while avoiding the pitfalls that usually come with such progress. After two enjoyable, but somewhat monotonous thrash metal records in the eighties, 'Soldiers Of Misfortune' adds more depth to the Canadians' sound. It isn't exactly progressive thrash metal, but paying more attention to dynamic possibilities within the boundaries of their sound meant a strong improvement.

Essentially, 'Soldiers Of Misfortune' is characterized by the same elements as Sacrifice's earlier work. The guitar riffs of Joe Rico and Rob Urbinati are razor sharp, the latter's venom-spitting vocal delivery - think Tom Angelripper with hints of Darren Travis - helps set the band apart from the pack and Gus Pynn is one of the most unjustly overlooked drummers in thrash metal. The tweaks Sacrifice made to their sound may seem minor at first, but they turn out to be very relevant. Most importantly: the tempo changes. Sacrifice songs used to speed by viciously, but the impact of separate sections has been increased here by shifting tempos strategically.

That doesn't mean that Sacrifice has been watered down to a mid-tempo groove metal band, however. 'Soldiers Of Misfortune' is far from a 'Black Album'-ish snoozefest. In fact, the most prominent midtempo track ('Soldiers Of Misfortune' itself) makes brilliant use of subtle shifts in tempo and time feel. It may be remembered for its massive doomy intro, but the brooding feel of the first faster riff is equally impressive. 'Lost Through Time' is another track that proves an evil atmosphere can be reached even at mid-tempo. The song makes excellent use of space.

Sacrifice still proves to be excellent at uptempo thrash here. 'In Defiance' was destined to become a live classic, as the riffs are highly memorable and the song is a shot of energy. 'A Storm In The Silence' excels at violent thrash polkas after a relatively atmospheric intro, while opener 'As The World Burns' perfectly bridges the full-speed rabid menace of the past with a somewhat more refined approach. Closer 'Truth (After The Rain)' is the band's most ambitious track to date. They took some progressive hints from Rush (the influence of 'Xanadu' on the intro is fairly obvious) and ran with that in what is ultimately a dark thrasher with lots of cool, vaguely Arabic-sounding riffs.

If 'Soldiers Of Misfortune' is proof of anything, it would be that maturing is not something to automatically run away from if you are in a thrash metal band. Sure, lots of bands ruined their sound with it, but Sacrifice is one of those cases where a little more refinement has truly enhanced their sound without sounding alien to anyone who liked their sound before. In addition, the guitar solos and overall songwriting have become significantly more memorable in the process. It is truly a pity that the band was done for by the mid-nineties, but they reformed recently and are still playing live. They have yet to release something as brilliant as 'Soldiers Of Misfortune', but never say never.

Agonymph



..::TRACK-LIST::..

1. As The World Burns 4:35
2. Soldiers Of Misfortune 5:37
3. In Defiance 4:10
4. Existence Within Eternity 4:00
5. Pawn Of Prophecy 3:24
6. Lost Through Time 4:06
7. A Storm In The Silence 4:08
8. Truth (After The Rain) 10:20



..::OBSADA::..

Vocals, Guitar - Rob Urbinati
Bass - Scott Watts
Drums - Gus Pynn
Guitar - Joe Rico



https://www.youtube.com/watch?v=QeHyG8O9cD8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As it turns out, 1990 has been quite possibly the strongest year in the history of Canadian thrash metal. Not only did Razor's punishing and furious Shotgun Justice come out that year, but fellow countrymen, Sacrifice's greatest release, Soldiers of Misfortune also saw the light of day. The two albums don't have anything in common, besides two things. They are both thrash metal and are among the greatest of their kind in the given period. While Razor chose extreme musical anger and violence, Sacrifice walked the path of refinement, sophistication, and precision.

The band decided to go even further into calculated aggression after Sacrifice's real self came to life on the predecessor Forward to Termination. It's not to say that the band was immature on the previous release, because that was an excellent effort. However, this is even better, where the band's career peaked once and for all. The band manages to release massive amounts of frustration and anger, but in such a way that it almost sounds like it's all part of a very intellectually driven, well-articulated 8-page essay in the form of thrash metal. Whether or not this might be thanks to Rob Urbinati's frantic, angry yet very intelligible vocals, or Gus Pynn's metrically flawless percussion that never skips or adds a beat throughout the whole record, this is pretty much as good as this subcategory of thrash metal will get.

Choosing highlights becomes a daunting task when looking at a masterpiece like this. Every song here is worthy of the highest praise, but let's look at the starter "As The World Burns", which takes off at a rather fast tempo, over a simple yet intriguing main riff. The clever two-guitar arrangements are very stylish and effective, and so is the beautiful, coherent guitar solo after the song slows down. Perhaps the song that's the most unlike the rest of the album is "In Defiance", but it's probably also the strongest. This is Sacrifice being a brutality-oriented thrash band for the length of a song, but it only sounds brutal when you compare it to the rest of this same release. It is unbelievably strong with its pummeling double-pedal madness and its simplistic, but all the more catchy riffs. You also have the more than 10-minute-long closer, "Truth (After The Rain)", which is very complex and well beyond most thrash bands, when you look at it from a coherence and technicality point of view. It even closes with a mellow, melodic instrumental section towards the end, that's one of the best closings I've heard to a thrash album. After this record, why not? They demonstrated how coherent and intelligent thrash can be better than nearly anyone this year, so why not cool the jets a little?

It is always thought-provoking to hear these albums from 25, 30, and 35 years ago that sound way better than how nearly anything sounds today. It doesn't make any sense technology-wise, but this is one of those albums. It is crystal clear, as clear as anything in 1990, and it's flawlessly balanced. One interesting element is the snare, which is way rawer and punchier than one that a record like this would typically utilize, but it works very well with the thick and muscular guitar tone. Behind all of this is the bass, which is clean and smooth, matching the whole picture and identity of the record (and the band, by this time).

Few people on Earth love brutality-focused thrash metal like Demolition Hammer, Morbid Saint, Dark Angel, Sadus, Razor, or Gammacide more than I do. Despite that, there is a time and place for Sacrifice's Soldiers of Misfortune among my favorite thrash albums. This is truly a "thinking man's thrash album", with very well-articulated vocal delivery, polished and complex songwriting, and perfect production.

VictimOfScience


By the early nineties, most of the thrash metal bands that had been around for a decade were altering their sound to varying degrees. In many cases, this change meant slowing down significantly or dumbing down the music. Sacrifice, however, managed to refine its sound considerably while avoiding the pitfalls that usually come with such progress. After two enjoyable, but somewhat monotonous thrash metal records in the eighties, 'Soldiers Of Misfortune' adds more depth to the Canadians' sound. It isn't exactly progressive thrash metal, but paying more attention to dynamic possibilities within the boundaries of their sound meant a strong improvement.

Essentially, 'Soldiers Of Misfortune' is characterized by the same elements as Sacrifice's earlier work. The guitar riffs of Joe Rico and Rob Urbinati are razor sharp, the latter's venom-spitting vocal delivery - think Tom Angelripper with hints of Darren Travis - helps set the band apart from the pack and Gus Pynn is one of the most unjustly overlooked drummers in thrash metal. The tweaks Sacrifice made to their sound may seem minor at first, but they turn out to be very relevant. Most importantly: the tempo changes. Sacrifice songs used to speed by viciously, but the impact of separate sections has been increased here by shifting tempos strategically.

That doesn't mean that Sacrifice has been watered down to a mid-tempo groove metal band, however. 'Soldiers Of Misfortune' is far from a 'Black Album'-ish snoozefest. In fact, the most prominent midtempo track ('Soldiers Of Misfortune' itself) makes brilliant use of subtle shifts in tempo and time feel. It may be remembered for its massive doomy intro, but the brooding feel of the first faster riff is equally impressive. 'Lost Through Time' is another track that proves an evil atmosphere can be reached even at mid-tempo. The song makes excellent use of space.

Sacrifice still proves to be excellent at uptempo thrash here. 'In Defiance' was destined to become a live classic, as the riffs are highly memorable and the song is a shot of energy. 'A Storm In The Silence' excels at violent thrash polkas after a relatively atmospheric intro, while opener 'As The World Burns' perfectly bridges the full-speed rabid menace of the past with a somewhat more refined approach. Closer 'Truth (After The Rain)' is the band's most ambitious track to date. They took some progressive hints from Rush (the influence of 'Xanadu' on the intro is fairly obvious) and ran with that in what is ultimately a dark thrasher with lots of cool, vaguely Arabic-sounding riffs.

If 'Soldiers Of Misfortune' is proof of anything, it would be that maturing is not something to automatically run away from if you are in a thrash metal band. Sure, lots of bands ruined their sound with it, but Sacrifice is one of those cases where a little more refinement has truly enhanced their sound without sounding alien to anyone who liked their sound before. In addition, the guitar solos and overall songwriting have become significantly more memorable in the process. It is truly a pity that the band was done for by the mid-nineties, but they reformed recently and are still playing live. They have yet to release something as brilliant as 'Soldiers Of Misfortune', but never say never.

Agonymph



..::TRACK-LIST::..

1. As The World Burns 4:35
2. Soldiers Of Misfortune 5:37
3. In Defiance 4:10
4. Existence Within Eternity 4:00
5. Pawn Of Prophecy 3:24
6. Lost Through Time 4:06
7. A Storm In The Silence 4:08
8. Truth (After The Rain) 10:20



..::OBSADA::..

Vocals, Guitar - Rob Urbinati
Bass - Scott Watts
Drums - Gus Pynn
Guitar - Joe Rico



https://www.youtube.com/watch?v=QeHyG8O9cD8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Kanadyjski brutal death metalowy album z 1998 roku, w całej swojej okazałości plus kilka bonusów!
Ciężki jak diabli i pełen najbardziej chwytliwych riffów, najbardziej makabrycznych wokali i najbardziej groovy'ego brzmienia perkusji, jakie można sobie wyobrazić, ten album ma wszystko, co czyni go klasykiem - stąd też nadal jest MORDERCZY... prawie 30 lat później!!!



Imagine for a second that the hundreds of underground '90s brutal death metal bands are all stars in the night sky. Rotting is one of the brilliantly eye-catching ones that dazzle and shine brighter than the rest, almost as if it's calling out to you. You'll be hooked from the moment you hit play on this record. The majority of Rotting's sound is made up of thick, walloping riffs that knock you left and right with a vengeance. The tone on here is wild and intense to an even higher degree than what is usual for brutal death metal. Listening to this album feels like being shoved through an extruder.

Korey's vocals reek of pungent spoilage as they aid the instrumentals in pummeling the listener. He spews the profane lyrics with power and rage. These vocals are relatively unvaried as they maintain the same semi-low pitch throughout the album with no real usage of high screams or any other dynamic elements, but honestly, this doesn't hurt the album in the slightest. The vocal style used on Crushed is great and complements the band's bold sound so well that I wouldn't swap it for any other. Though, the best quality of the vocals is how loud they are in the mix. It's a common occurrence for brutal death metal bands to drown out the vocals with the instruments, and this almost always seems to be the case when the band has a terrific vocalist. The vocals occupy the forefront on this album, and they cut straight through the music even during the blasting sections, delivering brutality unobstructed.

Aside from those two details, the beefy riffs and savage vocals, the album doesn't do anything too unique for brutal death metal standards. However, it still blows away almost all other bands that play the style, and this is due to the sheer catchiness that permeates every track. Rotting don't have memorable hooks or earwormy riffs; rather, it's the band's overall sound and how they do it justice with the songwriting that creates its infectiousness. The band never gets very technical, which allows them to commit themselves more to being a straightforward bludgeoning ambush. Rotting don't completely abandon complexity, though, as there are a handful of guitar solos scattered throughout the album, all of which are very tasteful. As a brutal death metal album coming out in 1998, this has the production you'd expect and want. It's got the perfect amount of coarseness that makes everything on the album hit ever so slightly harder and intensifies the ferocity. The drumming is notably punchy and also helps to create this vicious attitude.

Take one look at the cover art and you'll immediately be informed of what you're getting yourself into with this album. Crushed succeeds at many things—contagious songwriting with dense-as-fuck riffs, crispy vocals that will tear your skin off the bone, and most importantly, unbridled aggression. Rotting capture all of that and spread it evenly throughout 10 tracks of pure carnage. This is top-tier bench pressing music. Crushed will gore you to death and leave you looking like the cadaver on the cover. It's virtually impossible to be a fan of brutal death metal and not find enjoyment in this album.

AngelOfGore



..::TRACK-LIST::..

1. Sexually Tortured
2. Christian Castration
3. Laid To Rest
4. Evil I
5. Blood
6. Guts
7. Soulburn
8. In Vain
9. Let Them Bleed
10. Unholy Penetration

Bonus:
11. Death Bed
12. Voices
13. Christian Castration (Live)
14. Blood (Live)



..::OBSADA::..

Vocals, Performer [Rotting Are], Lyrics By [All Lyrics By] - Korey Arnold
Guitar, Bass, Performer [Rotting Are] - Jeff White
Drums, Performer [Rotting Are] - Keith Devry

Bass, Performer [Rotting Are] - Jason Balzer (tracks: 13 - 14)
Lead Guitar [Additional Lead Guitar] - Derek Stembridge
Bass [Additional Studio Help] - James Alderson




https://www.youtube.com/watch?v=xuqUG6EDUOY



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