Artist..........................: Various
Album.........................: Esta Loca Compilation-La Compile Latine
Genre.........................: Italo-House, Italo-Disco, New Beat
Year............................: 1989
Publisher.....................: 23235-2 Clever France
Total Time...................: 45:54
Codec.........................: Flac Highest Stereo Quality 44100Hz
Surce..........................: Audio CD



01. P.L.B. System - Esta Loca (dance mix) 4:18
02. P.L.B. System - Esta Loca (instrumental bass mix) 3:42
03. The Latin Rage - Esta Loca (remix) 3:09
04. Ritchie Paradise - Going Back To My Roots (remix) 5:02
05. Sandee - Notice Me (maxi edit) 6:41
06. Carolina Damas - Sueno Latino (the paradise version) 3:58
07. Latino Dance Machine - Latino Megamix (radio version) 4:24
- Kalimba De Luna
- Paris Latino
- Dr.Beat
- Conga
- Rhythm Is Gonna Get You
08. Mod N.4 - Zobi La Mouche (esta loca mix) 3:44
09. Lips Kiss - French Lambada Kiss (techno remix) 5:41
10. Spanish Beat - Loco Loco (loco mix) 5:15


...( Dodatkowo )...

Pacha Rebels - Esta Loca (maxi single '89)-(flac)

A1. Esta Loca (salsa attack mix) 6:01
A2. Esta Loca (rebel dub) 5:57
B1. Esta Loca (on the radio) 3:41
B2. Twilight Bass 5:10


Ritmo Latino - Esta Loca (web digital file)-(flac)

01. Está Loca (latin house version) 4:28
02. Está Loca (dee jay version) 4:44

..::INFO::..

The Alan Parsons Project to progresywna grupa rockowa założona przez Alana Parsonsa i Erica Woolfsona. Parsons był producentem i inżynierem dźwięku, a Woolfson kompozytorem 95% muzyki i autorem wszystkich tekstów utworów. Zespół był przedsięwzięciem typowo studyjnym, które opierało się na zatrudnianiu sesyjnych muzyków wykonujących muzykę stworzoną przez Woolfsona. Z tego też powodu grupa nie koncertowała (z jednym wyjątkiem w 1990 roku). Grupa zazwyczaj ogniskowała swoje albumy wokół jakiegoś tematu przewodniego lub postaci, stąd płyty poświęcone Edgarowi Allanowi Poe czy Isaacowi Asimovowi. W Polsce ogromną popularność zdobył charakterystyczny, animowany teledysk do utworu "Don't Answer Me" w reżyserii Michaela Kaluty z albumu Ammonia Avenue, który odnosił sukcesy w popularnym w latach osiemdziesiątych XX wieku programie "Przeboje Dwójki". W piosenkach śpiewał zazwyczaj sam Eric Woolfson, ale wokalistami byli także m.in. Lenny Zakatek, John Miles, Chris Rainbow, Colin Blunstone oraz sam Alan Parsons. Wstawka zawiera piąty album studyjny zespołu.

Title: The Turn Of A Friendly Card

Artist: The Alan Parsons Project

Country: Wielka Brytania

Year: 1980

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

May Be A Price To Pay
Games People Play
Time
I Don't Wanna Go Home
The Gold Bug
The Turn Of A Friendly Card
The Turn Of A Friendly Card (Pt. 1)
Snake Eyes
The Ace Of Swords
Nothing Left To Lose
The Turn Of A Friendly Card (Pt. 2)
May Be A Price To Pay (Intro - Demo)
Nothing Left To Lose (Basic Backing Track)
Nothing Left To Lose (Chris Rainbow Vocal Overdub Combilation)
Nothing Left To Lose (Early Studio Version With Eric's Guide Vocal)
Time (Early Studio Attempt)
Games People Play (Rough Mix)
The Gold Bug (Demo)

...( Info )...

Artist: VA
Title: Afro House: Deep Roots
Year: 2025
Genre: Deep-House
Duration: 01:21:01
Format/Codec: MP3
Audio bitrate: 320kbps


...( TrackList )...

01. M-Sol DEEP - Near (7:00)
02. Ivory Coats - Meridian (4:15)
03. M-Sol DEEP - Awakening in the Jungle (4:52)
04. Havjers - Milho (7:32)
05. Juantxo Munoz - Kenoppa (6:54)
06. Marga Sol - You Bring Me Back (5:20)
07. Thabza De Soul - Mawaku (4:52)
08. Inkwall - Mwaki (6:08)
09. M-Sol DEEP - Stay (6:26)
10. M-Sol DEEP - Fade Away (5:54)
11. M-Sol DEEP - Ton Ton (4:40)
12. Danmic's - Entranced (6:05)
13. Alex Lo Faro - Beautiful Life (Extended Mix) (5:08)
14. Danmic's - Let You Go (5:48)

...( Info )...

Artist: VA
Title: Distant Places Lounge Vol.1: Chillout Your Mind
Year: 2022
Genre: Chillout, Downtempo, Balearic
Duration: 01:26:37
Format/Codec: MP3
Audio bitrate: 320kbps


...( TrackList )...

01. Free Spirit Muse - Breath-Ful Moments (20:21)
02. Matt Sour - Like a Fairy Tale (Original Mix) (4:44)
03. Gary B - Afraid to Fall (Original Mix) (4:53)
04. Michael E - Wind Chime (Original Mix) (5:53)
05. La Estación Del Mar - Cantos Rodados (4:38)
06. Marga Sol - Calma (5:28)
07. Matt Sour - The Way to Freedom (4:15)
08. Florzinho - Oneness Meditation (Original Mix) (8:07)
09. Elmara - Mediterranean (Original Mix) (4:42)
10. Peter Pearson - Love Notes (Original Mix) (5:36)
11. Simon Le Grec - We Will Be Free (Radio Edit) (3:40)
12. Tigerforest - Sea Watch (David Helpling's A Thousand Missing Faces Remix) (5:32)
13. La Estación Del Mar - Una Espiga En Mi Boca (4:38)
14. Dharma Frequency - Consciousness Vibes (Original Mix) (4:03)

...( Info )...

Artist...............: Nada
Album................: Le Piu' Belle Canzoni Di Nada
Genre................: Pop Rock
Year.................: 1998
Codec................: reference libFLAC 1.4.3

...( TrackList )...

001. Nada - Pasticcio Universale
002. Nada - Ti Stringero
003. Nada - Dolce Piu' Dolce
004. Nada - Fandango
005. Nada - Candida Follia
006. Nada - Dimmi Che Mi Ami, Che Mi Ami, Che Tu Ami Solo Me
007. Nada - Rosa
008. Nada - Tentazioni
009. Nada - Febbre Senza Malattia
010. Nada - Noi

...( Info )...


Artist: Fleetwood Mac
Album: Live From The Record Plant Sausalito CA (December 15 1974)
Year: 2025
Quality: FLAC 24Bit-96kHz

...( TrackList )...

01. The Green Manalishi (With the Two Prong Crown) (Live at the Record Plant, Sausalito, CA, 12-15-1974)
02. Angel (Live at the Record Plant, Sausalito, CA, 12-15-1974)
03. Spare Me a Little of Your Love (Live at the Record Plant, Sausalito, CA, 12-15-1974)
04. Sentimental Lady (Live at the Record Plant, Sausalito, CA, 12-15-1974)
05. Future Games (Live at the Record Plant, Sausalito, CA, 12-15-1974)
06. Bermuda Triangle (Live at the Record Plant, Sausalito, CA, 12-15-1974)
07. Why (Live at the Record Plant, Sausalito, CA, 12-15-1974)
08. Believe Me (Live at the Record Plant, Sausalito, CA, 12-15-1974)
09. Black Magic Woman - Oh Well (Live at the Record Plant, Sausalito, CA, 12-15-1974)
10. Rattlesnake Shake (Live at the Record Plant, Sausalito, CA, 12-15-1974)
11. Hypnotized (Live at the Record Plant, Sausalito, CA, 12-15-1974)

..::INFO::..

Trivium to amerykański zespół założony w 1999 roku w Orlando na Florydzie. Wykonywana przez zespół muzyka określana jest jako thrash metal, heavy metal, melodic death metal, groove metal, metalcore oraz metal progresywny. Liderem formacji oraz autorem wszystkich tekstów jest Matthew Kiichi Heafy - Amerykanin pochodzenia japońskiego. Nazwa grupy wywodzi się z języka łacińskiego. Trivium w okresie późnej starożytności oraz średniowiecza było, obok quadrivium, podgrupą siedmiu sztuk wyzwolonych. Obejmowało trzy nauki: gramatykę, retorykę oraz logikę. Członkowie zespołu uznają, że obrazuje to ich zainteresowanie różnymi gatunkami muzycznymi. Trivium nagrało dziesięć albumów studyjnych. Zespół słynie z dużej liczby występów. 12 czerwca 2006 roku brytyjski magazyn „Metal Hammer” na gali Golden God Awards uznał grupę za najlepiej koncertujący zespół w bieżącym roku. Tego samego dnia Matt Heafy otrzymał tytuł „Golden God”, a Travis Smith wygrał w kategorii „najlepszy perkusista”. Wstawka zawiera dziewiąty album zespołu.

Title: What the Dead Men Say

Artist: Trivium

Country: USA

Year: 2020

Genre: Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( TrackList ) ...

1.IX
2.What The Dead Men Say
3.Catastrophist
4.Amongst The Shadows & The Stones
5.Bleed Into Me
6.The Defiant
7.Sickness Unto You
8.Scattering The Ashes
9.Bending The Arc To Fear
10.The Ones We Leave Behind
11.Bleed Into Me (Acoustic)
12.Scattering The Ashes (Acoustic)
13.Drowning In The Sound
14.I Don’t Wanna Be Me
15.Kill The Poor
16.Coracao Nao Tem Idade (Vou Beijar)

..::INFO::..

Nina Simone, właśc. Eunice Kathleen Waymon (ur. 21 lutego 1933 w Tryon, zm. 21 kwietnia 2003 w Carry-le-Rouet) to amerykańska piosenkarka, autorka tekstów i pianistka. Klasyfikowana na ogół jako przedstawicielka jazzu, choć sama nie lubiła takiego szufladkowania. Jej twórczość to również muzyka z pogranicza bluesa, rhythm and bluesa i soulu. W 2018 wprowadzona do Rock and Roll Hall of Fame. To Love Somebody to album piosenkarki jazzowej, autorki tekstów i pianistki Niny Simone. Przede wszystkim album z coverami, został wydany tak szybko, jak to możliwe, aby przedłużyć nieoczekiwany sukces „Nuff Said!”.

Title: To Love Somebody

Artist: Nina Simone

Country: USA

Year: 1969

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Suzanne
2.Turn! Turn! Turn! (To Everything There Is A Season)
3.Revolution (Part I)
4.Revolution (Part II)
5.To Love Somebody
6.I Shall Be Released
7.I Can't See Nobody
8.Just Like Tom Thumb's Blues
9.The Times They Are A Changin'

...( Info )...

Artist: Various Artists
Album: Top Songs of 2024: Korea
Year: 2024
Format: mp3 320 kbps

...( TrackList )...

01. ILLIT - Magnetic
02. NewJeans - How Sweet
03. aespa - Drama
04. LE SSERAFIM - Perfect Night
05. TWS - plot twist
06. TAEYEON - To. X
07. NewJeans - ETA
08. Desperate Journalist - Armageddon
09. NewJeans - Supernatural
10. IU - Love wins all
11. qwer - T.B.H
12. NewJeans - Bubble Gum
13. RIIZE - Talk Saxy
14. NewJeans - Hype Boy
15. RIIZE - Love 119
16. NewJeans - Attention
17. Nerd Connection - If I have you only (My love X Nerd Connection)
18. NewJeans - Ditto
19. DAY6 - Welcome to the Show
20. Taylor Swift - Cruel Summer
21. (G)I-DLE - Fate
22. DAY6 - Time of Our Life
23. BUMJIN - A Letter
24. BABYMONSTER - SHEESH
25. LE SSERAFIM - EASY
26. Jung Kook - Seven (feat. Latto)
27. ECLIPSE - Sudden Shower
28. NewJeans - OMG
29. NewJeans - Super Shy
30. KISS OF LIFE - Sugarcoat (NATTY Solo)
31. Jimin - Who
32. Lee Young Ji - Small girl (feat. D.O.)
33. Bibi - Bam Yang Gang
34. RIIZE - Get A Guitar
35. ZICO - SPOT!
36. KISS OF LIFE - Midas Touch
37. KISS OF LIFE - Sticky
38. LE SSERAFIM - Smart
39. Crush - Love You With All My Heart
40. ILLIT - Lucky Girl Syndrome
41. IVE - 해야 (HEYA)
42. RIIZE - Boom Boom Bass
43. RIIZE - Siren
44. IVE - I AM
45. RIIZE - Impossible
46. Choi Yu Ree - Forest
47. TripleS - Girls Never Die
48. BOYNEXTDOOR - Earth, Wind & Fire (Japanese Version)
49. RIIZE - Memories
50. NewJeans - New Jeans
51. DAY6 - HAPPY
52. aespa - Spicy
53. VIVIZ - MANIAC
54. Nerd Connection - ‎Good Night Good Dream
55. Groovyroom - Yes or No (Feat. HUH YUNJIN of LE SSERAFIM, Crush)
56. IVE - Baddie
57. NewJeans - Cool With You
58. Big Naughty - Vancouver 2
59. Red Velvet - Chill Kill
60. NMIXX - DASH
61. Lim Jae Hyun - Rhapsody of Sadness
62. Yerin Baek - Bye Bye My Blue
63. KISS OF LIFE - Bad News
64. Jung Kook - Standing Next to You
65. qwer - Discord
66. 데이먼스 이어 Damons year - yours
67. Leellamarz - Trip
68. NewJeans - Cookie
69. NewJeans - Right Now
70. 검정치마 - EVERYTHING
71. Yerin Baek - Antifreeze
72. NewJeans - Hurt
73. Hyukoh - TOMBOY
74. JENNIE - You & Me
75. Yuuri - BETELGEUSE
76. Benson Boone - Beautiful Things
77. Roy Kim - Let's Stay Well (My love X Roy Kim)
78. Alaina Castillo - pocket locket
79. Dean - DIE 4 YOU
80. BOYNEXTDOOR - But Sometimes
81. AKMU - How can I love the heartbreak, you're the one I love
82. IVE - LOVE DIVE
83. Sung Si Kyung - 거리에서
84. Parc Jae Jung - Let's Say Goodbye
85. League Of Legends - GODS
86. Lauv - Steal The Show
87. Sabrina Carpenter - Espresso
88. IVE - After LIKE
89. IVE - Off The Record
90. SEVENTEEN - God of Music
91. fromis_9 - Supersonic
92. LE SSERAFIM - Eve, Psyche & The Bluebeard’s wife
93. 이창섭 - Heavenly fate
94. aespa - Next Level

...( Info )...

Artist: Various Artists
Album: Top Songs of 2024: Philippines
Year: 2024
Format: mp3 320 kbps

...( TrackList )...

001. Billie Eilish - BIRDS OF A FEATHER
002. Bini - Pantropiko
003. Bini - Salamin, Salamin
004. Taylor Swift - Cruel Summer
005. Ariana Grande - we can't be friends (wait for your love)
006. Sabrina Carpenter - Please Please Please
007. Sabrina Carpenter - Espresso
008. Maki - Dilaw
009. Dionela - sining
010. Jung Kook - Seven (feat. Latto)
011. TJ Monterde - Palagi
012. SZA - Snooze
013. Taylor Swift - Fortnight
014. Hev Abi - Alam Mo Ba Girl
015. Lady Gaga - Die With A Smile
016. Taylor Swift - Lover
017. Jung Kook - Standing Next to You
018. gins&melodies - Babaero (feat. Hev Abi)
019. Bini - Karera
020. Chappell Roan - Good Luck, Babe!
021. Cup of Joe - Tingin
022. Hev Abi - Walang Alam
023. Olivia Rodrigo - vampire
024. SZA - Saturn
025. Bini - Lagi
026. juan karlos - ERE
027. Taylor Swift - Guilty as Sin_
028. Taylor Swift - Down Bad
029. Orange & Lemons - Heaven Knows - This Angel Has Flown
030. Taylor Swift - All Too Well (10 Minute Version) (Taylor's Version) (From The Vault)
031. Ben&Ben - Sa Susunod na Habang Buhay
032. Hev Abi - Lil Kasalanan Shortie
033. Hev Abi - Para Sa Streets
034. Doja Cat - Agora Hills
035. Bini - Huwag Muna Tayong Umuwi
036. Tyla - Water
037. Taylor Swift - Style (Taylor's Version)
038. Kristina Dawn - Makasarili Malambing (feat. Hev Abi)
039. Taylor Swift - Anti-Hero
040. Adie - Mahika
041. Lola Amour - Raining In Manila
042. Sabrina Carpenter - Taste
043. Arthur Nery - TAKE ALL THE LOVE
044. Ariana Grande - intro (end of the world)
045. Djo - End of Beginning
046. Jimin - Who
047. Tate McRae - greedy
048. Demi - homebdy (feat. Madman Stan)
049. Taylor Swift - Is It Over Now_ (Taylor's Version) (From The Vault)
050. Ariana Grande - Stuck with U
051. Sabrina Carpenter - Bed Chem
052. Taylor Swift - Snow On The Beach
053. SZA - Nobody Gets Me
054. Jung Kook - 3D (feat. Jack Harlow)
055. Denise Julia - B.A.D
056. Mitski - My Love Mine All Mine
057. O SIDE MAFIA - Get Low
058. Ariana Grande - 7 rings
059. The Weeknd - One Of The Girls
060. Up Dharma Down - Unti-Unti
061. Cean Jr. - YK
062. Zack Tabudlo - Gusto
063. ROSÉ - APT
064. Taylor Swift - Blank Space (Taylor's Version)
065. Taylor Swift - august
066. Ben&Ben - Araw-Araw
067. Taylor Swift - I Can Do It With a Broken Heart
068. Hozier - Too Sweet
069. Ariana Grande - thank u, next
070. Arthur Nery - Isa lang
071. Rihanna - Kiss It Better
072. Bini - Na Na Na
073. Taylor Swift - _Slut!_ (Taylor's Version) (From The Vault)
074. Olivia Rodrigo - drivers license
075. Taylor Swift - Midnight Rain
076. Flow G - Burgis
077. TJ Monterde - Palagi (TJxKZ Version)
078. SZA - Kill Bill
079. Sabrina Carpenter - Nonsense
080. Demi - Pakundangan (feat. Hev Abi)
081. Niki - Backburner
082. Olivia Rodrigo - traitor
083. Tommy Richman - MILLION DOLLAR BABY
084. Ariana Grande - the boy is mine
085. TONEEJAY - 711
086. Taylor Swift - The Tortured Poets Department
087. Ariana Grande - One Last Time
088. Doja Cat - Paint The Town Red
089. Coldplay - Yellow
090. Taylor Swift - cardigan
091. Olivia Rodrigo - deja vu
092. Bini - Cherry On Top
093. Taylor Swift - You’re Losing Me (From The Vault)
094. Taylor Swift - Lavender Haze
095. nobita - Ikaw Lang
096. Taylor Swift - My Boy Only Breaks His Favorite Toys
097. SunKissed Lola - Pasilyo
098. Ariana Grande - yes, and_
099. Maki - Saan_
100. Taylor Swift - Enchanted (Taylor's Version)

...( Info )...

składanka mireczka-a takie tam vol.28
Gatunek: Dance,Disco,Vixa/Pompa
Rok:2025
mp3@128-320kbps
CZAS:01:39:08

...( TrackList )...

1.Blasterjaxx & Cuebrick - Squid Play (Extended Mix)
2.DJ Dean & DJ Fait - Euphoria (I Can't Breathe) (Extended Mix)
3.bambi - MADONNA (SINDRIX BOOTLEG)
4.Miszel & Kabe feat. Toxix vs. David S - Drop the bass Rarara
5.Polska Wersja - Bunt maszyn (Majki Bootleg)
6.Pitbull - Guantanamera (ABBERALL BOOTLEG)
7.Activ - Visez (Kamiś Remix)
8.INNA - Cryo (Deymon Bootleg)
9.Kaz Bałagane - Jak żyć w WWA (Bootleg)
10.BONEY M VS LMFAO - Daddy Cool Anthem
11.Keanu Silva, Prezioso & Adalwolf Feat. Ninkid - Moonlight Shadow
12.PIT ft. TKM - SNAPCHAT (Dj Squirrel Bootleg)
13.Dj Kaka & Nerus vs. Zucchero - Hey DeeJay Baila Morena
14.ROSÉ & Bruno Mars - APT. (SOUND BASS Bootleg)
15.Sobel - KOCHASZ (Kriss Remix)
16.Mo -Do & Tops - Eins Zwei Drop the Bass
17.MaxRiven - PHANTOM
18.QINGA - Talarki (Dj Przemooo Bootleg)
19.J. Balvin, Skrillex, Julas & DJ Salis - In Da Getto (BART & Lacros EDIT)
20.Young Leosia ft. Jacuś - SOBOTA WIECZÓR (Dj Przemooo & Young Dj Bootleg) 2025
21.Walczak & S0VA x Paul Andrew - We Came To Party (DJ Sebix Edit)
22.Kalwi I Remi - Explosion (Daniel Vivace X Creative Head's Remix)
23.Bagrol & David Tango - Wan't You ( Original Mix )
24.SOUND BASS - Hola Papi! (Original Mix)
25.2 Brothers on the 4TH floor feat. Xano X Dj Przemooo & Koski - Dreams ( 2025)
26.Gabry Ponte feat. Ceres - Samba Eletrico
27.RafCio - Tarantella Dance (Orginal Mix)
28.SOVA & DANIL - Drama Bass
29.Nicola Endrizzi - Shine (Extended Mix)
30.Waldis - Periodyzacja Współczesności (DJ Michał Mash)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Multi-instrumentalist Franck Carducci (bass, keyboards, guitar, drums, etc.) grew up in a family where music is a way of life. At the age of 5 he made his first experiences with a Hammond organ, proceeded to learn the guitar later on and joined the first rock band when he was 14 years old. Little by little, he strived towards music that, while still being accessible, is also structurally more complex with different atmospheres. After becoming infatuated with bands like Pink Floyd and Genesis he embedded progressive rock into his heart and his soul.

As Franck's musical life progressed, he took the opportunity to learn both the bass and drums providing an in depth understanding of the various instruments involved in a classic rock band. The culmination of those experiences gave him the ability to create the various arrangements to the songs he's compling today. Between the ages of 20 and 30, he played with about 20 different bands and was involved in the recording of 15 different albums. Two of these found him paired with French female folk singer Yanne Matis with whom he toured throughout Europe.

In 2008, Franck moved to Amsterdam where he got into the local scene and performed regularly in the famous clubs of the city. It was 2010 when Franck opened a gig for one of his heroes, Steve Hackett, who encouraged him to focus on producing his own solo album. This was the starting shot for 'Oddity', which was recorded featuring several guest musicians and takes you through imaginary tales of unlikely characters inspired by English literature and Greek mythology. His melodic songs are reflecting inspirations coming from diverse bands, where a symphonic touch is in place quite often.



'It’s an absolute delight to be able to release a DVD/Blu-Ray of our live shows. For me, the visual aspects have always been a full part of live music. That’s why acts like Genesis & Peter Gabriel, David Bowie, Alice Cooper and of course Pink Floyd have always been huge influences of mine, so a DVD/Blu-Ray was completely necessary to be able to share the full experience of our shows and I do hope people will enjoy it.' - Franck Carducci.



A live supercharged just after two albums, long tracks, which go directly to the world of Lewis Carroll, a very "englander" sound eyeing the side of GENESIS and a little SUPERTRAMP for the melodies, musicians already familiar with their art with high quality guests, Mathieu Spaeter, Olivier Castan and Jimmy Pallagrosi for a high quality set! A live that has nothing to envy to the major prog groups, it is during the presentation of the titles that one realizes that Franck is indeed French. The titles mainly take again those 'of torn apart' plus the two great ones of their first; So few new things but frenzied titles that give plenty of energy; a small note to say that it is almost essential to acquire, especially in these periods of scarcity of concerts.

alainPP



..::TRACK-LIST::..

Recorded live at the Climax Club Legend, Riotord, Auvergne, France 11/20/15 & 11/21/15.
1. Torn Apart 10:52
2. Closer To Irreversible 6:19
3. Artificial Paradises 14:50
4. Mr. Hyde & Dr. Jekyll 8:16
5. Artificial Love 6:52
6. Achilles Sword Fight 1:57
7. Achilles 14:24
8. A Brief Tale Of Time 13:52
9. The Last Oddity 11:58
10. Supper's Ready 3:50
11. Alice's Eerie Dream 14:25
12. Credits 2:15



..::OBSADA::..

Rainstick, Tambourine, Vocals - Mary Reynaud
Guitar [6 & 12 string] - Matthieu Spaeter
Keyboards, Vocals - Olivier Castan
Bass, Vocals, Twelve-string Guitar - Franck Carducci
Didgeridoo, Bass [Pedals], Electric Guitar, Vocals - Christophe Obadia
Drums - Jimmy Pallagrosi




https://www.youtube.com/watch?v=dBNj6s9zzGY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja debiutanckiej, trudno dostępnej epki z 2007 od zasłużonej holenderskiej formacji Hail Of Bullets.

Gitarzysta i założyciel Hail Of Bullets, Stephan Gebédi, komentuje: "To materiał, od którego wszystko się zaczęło i który z dnia na dzień uczynił z Hail of Bullets siłę, z którą trzeba się liczyć! Gdy Silenoz (Dimmu Borgir) posłuchaj tej epki, powiedział: «Kiedy myślisz, że nie ma już nadziei dla brutalnej muzyki, w której każdy zespół brzmi tak samo, pojawia się Hail of Bullets i zrównuje wszystko z ziemią». Po wyprodukowaniu naszego pełnego albumu, Dan Swanö dodał: «Jeden z najlepszych, jeśli nie najlepszy album, nad którym pracowałem przez bardzo, bardzo, bardzo długi czas!» Chyba niewiele możemy do tego dodać!"

Epka "Hail Of Bullets" pierwotnie została wydana samodzielnie przez zespół i przez kilka lat rozprowadzana w formacie CD-R, po czym stała się niedostępna. Agonia Records wznawia epkę z odnowioną szatą graficzną i w kilku różnych formatach, w tym w trzech wersjach winylowych.

Hail Of Bullets - często określany mianem death metalowej supergrupy - rozpoczął działalność w 2006 wydał trzy albumy studyjne; wszystkie w tym samym składzie. Należą do niego Stephan Gebédi (Thanatos) na gitarze, Martin van Drunen (Asphyx, Thanatos) na wokalu, Paul Baayens (Asphyx) na gitarze, Theo van Eekelen (Houwister, Grand Supreme Blood Court) na basie i Ed Warby (Ayreon, ex-Gorefest) na perkusji.



A re-release of the self-titled, hard to come by debut EP from 2007 by celebrated Dutch death metal brigade Hail Of Bullets. Guitarist & founder Stephan Gebédi comments: "The EP that started it all in 2007 for us and turned Hail of Bullets in a Death Metal force to be reckoned with overnight! After hearing this EP for the first time, Silenoz (Dimmu Borgir) said that: «When you think there’s no more hope for brutal music, where every bands sounds the same, Hail of Bullets come along and just level everything with the ground! Pretenders – move over!» And after producing our full-length album, Dan Swanö stated: «One of the best, if not the best albums I worked on for a very, very, very long time!» Not much we can add to this, I guess!

"Hail Of Bullets", originally self-released, was distributed by the band themselves in CD-R format for a number of years. Having been unavailable since, Agonia Records will restore it back to live with revamped artwork and in several different formats, including three vinyl iterations.

Often lauded as a death metal supergroup, Hail Of Bullets started out in 2006 and released three studio albums to their name, all with the same line-up comprising Stephan Gebédi (Thanatos) on guitars, Martin van Drunen (Asphyx, Thanatos) on vocals, Paul Baayens (Asphyx) on guitars, Theo van Eekelen (Houwister, Grand Supreme Blood Court) on bass and Ed Warby (Ayreon, ex-Gorefest) on drums.



..::TRACK-LIST::..

1. General Winter 05:46
2. Red Wolves Of Stalin 05:16
3. Ordered Eastward 04:44
4. Advancing Once More 05:02




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja debiutanckiej, trudno dostępnej epki z 2007 od zasłużonej holenderskiej formacji Hail Of Bullets.

Gitarzysta i założyciel Hail Of Bullets, Stephan Gebédi, komentuje: "To materiał, od którego wszystko się zaczęło i który z dnia na dzień uczynił z Hail of Bullets siłę, z którą trzeba się liczyć! Gdy Silenoz (Dimmu Borgir) posłuchaj tej epki, powiedział: «Kiedy myślisz, że nie ma już nadziei dla brutalnej muzyki, w której każdy zespół brzmi tak samo, pojawia się Hail of Bullets i zrównuje wszystko z ziemią». Po wyprodukowaniu naszego pełnego albumu, Dan Swanö dodał: «Jeden z najlepszych, jeśli nie najlepszy album, nad którym pracowałem przez bardzo, bardzo, bardzo długi czas!» Chyba niewiele możemy do tego dodać!"

Epka "Hail Of Bullets" pierwotnie została wydana samodzielnie przez zespół i przez kilka lat rozprowadzana w formacie CD-R, po czym stała się niedostępna. Agonia Records wznawia epkę z odnowioną szatą graficzną i w kilku różnych formatach, w tym w trzech wersjach winylowych.

Hail Of Bullets - często określany mianem death metalowej supergrupy - rozpoczął działalność w 2006 wydał trzy albumy studyjne; wszystkie w tym samym składzie. Należą do niego Stephan Gebédi (Thanatos) na gitarze, Martin van Drunen (Asphyx, Thanatos) na wokalu, Paul Baayens (Asphyx) na gitarze, Theo van Eekelen (Houwister, Grand Supreme Blood Court) na basie i Ed Warby (Ayreon, ex-Gorefest) na perkusji.



A re-release of the self-titled, hard to come by debut EP from 2007 by celebrated Dutch death metal brigade Hail Of Bullets. Guitarist & founder Stephan Gebédi comments: "The EP that started it all in 2007 for us and turned Hail of Bullets in a Death Metal force to be reckoned with overnight! After hearing this EP for the first time, Silenoz (Dimmu Borgir) said that: «When you think there’s no more hope for brutal music, where every bands sounds the same, Hail of Bullets come along and just level everything with the ground! Pretenders – move over!» And after producing our full-length album, Dan Swanö stated: «One of the best, if not the best albums I worked on for a very, very, very long time!» Not much we can add to this, I guess!

"Hail Of Bullets", originally self-released, was distributed by the band themselves in CD-R format for a number of years. Having been unavailable since, Agonia Records will restore it back to live with revamped artwork and in several different formats, including three vinyl iterations.

Often lauded as a death metal supergroup, Hail Of Bullets started out in 2006 and released three studio albums to their name, all with the same line-up comprising Stephan Gebédi (Thanatos) on guitars, Martin van Drunen (Asphyx, Thanatos) on vocals, Paul Baayens (Asphyx) on guitars, Theo van Eekelen (Houwister, Grand Supreme Blood Court) on bass and Ed Warby (Ayreon, ex-Gorefest) on drums.



..::TRACK-LIST::..

1. General Winter 05:46
2. Red Wolves Of Stalin 05:16
3. Ordered Eastward 04:44
4. Advancing Once More 05:02




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::TRACK-LIST::..

BONUS DVD:
The Adventure Begins (The Making Of The Great Adventure)
1. The Adventure Begins
2. In The Studio
3. In The Studio Again
4. 19 Studio Albums
5. The Cutting Room
6. Snow Today
7. Band Departs
8. Getting Back Together
9. Recording
10. Writing Part 2
11. Act 2
12. Conclusion





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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niespełna trzy lata po naprawdę bardzo udanym The Similitude of a Dream powraca The Neal Morse Band. I to powraca z kontynuacją literackiej historii zawartej na tym dwupłytowym koncepcie. Przypomnijmy, że ów koncept został luźno oparty na słynnym dziele Johna Bunyana Wędrówka Pielgrzyma. To wejście do tej samej niejako rzeki jest także ponowieniem całej muzycznej konstrukcji, według której zbudowane było The Similitude of a Dream. Zatem dokładnie ten sam kwintet, w bliźniaczą niemalże oprawę graficzną, upakował jeszcze raz na dwóch dyskach ponad sto minut muzyki (tu o 3 minutki mniej) wpisane w 23 muzyczne tematy (czyli o jeden więcej), podzielone na pięć rozdziałów.

Takie konsekwentne trzymanie się przez artystę pewnych przemyślanych założeń zawsze budzi szacunek, ale już bardzo wierne powtarzanie muzycznych rozwiązań, czasami wzbudza kontrowersje. I tu na The Great Adventure dokładnie tak jest. Album zarówno pod względem brzmieniowym, jak i aranżacyjnym jest wręcz bliźniaczą kopią poprzednika. Poużywać sobie zatem mogą ci, których nużą opasłe muzyczne tomiszcza Morse’a z łatwymi do odgadnięcia rozwiązaniami.

Jednak ci, którzy lubią kompozytorską erudycję Morse’a i kochają takie progresywno – symfoniczne granie o chrześcijańskim przesłaniu z pewnością się tym albumem nie zawiodą. Bo choć to momentami granie pełne absolutnie przewidywalnych rozwiązań, to jednak wykonane na bardzo wysokim technicznym poziomie. Każdy z panów po raz kolejny pokazuje tu swój kunszt. Powie ktoś: zatem mamy tu kolejne dzieło pełne przerostu formy nad treścią? Nic z tych rzeczy, gdyż muzycy bronią się po raz kolejny całą masą dobrze zbudowanych kompozycji o świetnej melodyce.

Mamy tu zatem ciągłe żonglowanie kontrastem poprzez zderzanie mocnych, rozkrzyczanych gitarowych riffów uzupełnianych intensywną grą perkusyjną Portnoya (Welcome To The World, The Great Adventure, Fighting With Destiny, The Element Of Fear) z niezwykle uduchowionymi, nostalgicznie brzmiącymi fragmentami (The Dream Isn't Over, A Momentary Change, Long Ago, The Great Despair). Do tego jest u nich to nieodzowne bawienie się różnorakimi konwencjami. Jest miejsce na prog, hard rock, blues, czy muzyczną burleskę (Vanity Fair). Jest też wreszcie ich znak rozpoznawczy - fantastyczne, wielogłosowe harmonie, tak silnie odwołujące się Beatlesowskich figur. Znajdziemy je choćby w Welcome To The World, To The River, The Great Adventure i Vanity Fair. Kwintet ponadto zdaje sobie doskonale sprawę z tego, że aby wciągnąć słuchacza w płytę, należy go skutecznie „atakować” nośnym melodycznym motywem, który co rusz powraca i… z każdym kolejnym razem wydaje się znajomy i jeszcze bardziej atrakcyjny. I tak tu jest, z tym że panowie potrafią go podać za każdym razem w innym aranżacyjnym anturażu.

Najlepsze momenty płyty to już wspomniane The Dream Isn't Over, Welcome To The World, A Momentary Change, The Great Adventure, Beyond The Borders, Long Ago, The Dream Continues, Vanity Fair i The Great Despair zwieńczony najpiękniejszym na całym albumie solowym popisem gitarowym, w sam raz na podgrzanie atmosfery koncertu przed samym jego finałem. Finałem ze wzniosłym i wymownym już w samym tytule A Love That Never Dies. No właśnie.

Mariusz Danielak


Jak skutecznie zmierzyć się z sukcesem poprzedniej płyty? Dodajmy: podwójnej, epicko brzmiącej płyty? Najlepiej nagrać… kolejną podwójną płytę. „Let the great adventure now begin” – ostatnie zdanie z wydanego w 2016 roku albumu „The Similitude Of A Dream”” okazało się prorocze. Wielka przygoda trwa. Bo oto trzymam w ręku nowy, wydany pod koniec stycznia dwupłytowy album The Neal Morse Band zatytułowany „The Great Adventure”.

Z wielu względów można go nazwać kontynuacją wydanej dwa i pół roku temu poprzedniej płyty. To równie opasłe, dwupłytowe dzieło składające się z 2 aktów, 5 rozdziałów i w sumie aż 22 muzycznych tematów układających się w wielką epicką całość. Nawet graficzny projekt okładki jest niemal identyczny. I skład grających muzyków też (Bill Hubauer (k, v), Eric Gillette (g, v), Randy George (bg), Mike Portnoy (dr, v)). No i sama muzyka: wspaniała, epicka, zachwycająca. A w roli głównej oczywiście sam Neal Morse. W wielkiej, fenomenalnej wręcz formie. „Byłem przekonany, że następca „The Similitude Of A Dream” będzie albumem całkowicie od niego różnym, tymczasem poszedłem w stronę, którą podpowiadało mi serce” – tak opowiada on o nowej płycie. Istotnie, w największym skrócie należy stwierdzić, że „The Great Adventure” zawiera te wszystkie elementy, które fani muzyki Neala Morse’a kochają najbardziej: jest tu rock, jest metal, są pierwiastki jazzrockowe, piosenkowe, orkiestrowe, są liczne powracające tematy (tym razem najczęściej przewijają się one w dwóch częściach utworu „Welcome To The World” oraz w „To The River”). Są też nośne, przebojowe wręcz nagrania, wśród których na wyróżnienie zasługuje wspomniane już „Welcome To The World”, „The Great Despair” czy na przykład „I Got To Run”. Co zachwyca to przestrzeń, szczególnie w zakresie wokali, jaką Neal pozostawił swoim kolegom. Partie, w których główne linie wokalne prowadzą panowie Portnoy, Hubauer czy Gillette należą do najlepszych na płycie. I zdecydowanie urozmaicają one brzmienie całego zespołu.

Album „The Great Adventure” skomponowany jest i wykonany z niebywałym rozmachem, posiada niesamowite tempo i flow, który nie pozwala ani na chwilę na wyłączenie się z posuwającej się do przodu, utwór po utworze, akcji. Pod wieloma względami przypomina mi on – a konkretniej poszczególne jego rozdziały – rozbudowane, wielowątkowe suity supergrupy Transatlantic.

Z pewnością „The Great Adventure” nie sposób nazwać dziełem przełomowym w dorobku Neala Morse’a. Na pewno też nie dziełem, które potencjalnie mogłoby wyznaczać nowy etap, czy – jak domagają się krytycy twórczości naszego bohatera – stylistyczny przełom w jego dorobku, ale dla zwolenników (a tych jest przecież znacznie więcej niż przeciwników) dokonań Morse’a będzie to kolejna, blisko dwugodzinna smakowita muzyczna uczta. Ba, jak zwykle w przypadku tego pana utrzymana na najwyższym, liczonym według najlepszych progrockowych standardów, poziomie.

Artur Chachlowski


I believe there are a few definitive moments in the course of a person's music listening. For me, the first one came in 1981 when at the age of 12 I discovered a copy of the recent Yes album, 'Drama', in my uncle's LP collection. Intrigued by the cover, I put it on and never looked back through the prog gates that had been blown open by 'Machine Messiah'.
Then almost 20 years ago I was looking for prog on the internet and found the Gnosis2000 website, and when I looked at the highest rated albums they were by Italian bands I'd never heard of. What?! Better than Yes, Genesis, and King Crimson? I bought 'Per un Amico' and 'Darwin' and realized there is a wonderful prog world outside of English- speaking countries--especially Italy.

A few years after that, I heard Neal Morse's 'One' album, and I was floored. I had really enjoyed his 'Testimony' album and the Transatlantic and Spock's Beard I had heard, but 'One' just took it to another level for me. Not only the musicianship and songwriting, but to write about the concept of separation from and return to divinity, with all of its symbolism--well that was Prog Heaven, and another defining moment for me in my music listening life.

So imagine my surprise when two years ago, the Neal Morse Band released 'The Similitude of a Dream', which I like even better than 'One'! It has since become my favorite album post 1970s, and is a contender for top spot overall. Again, the combination of musicianship (taken to a completely different level with the addition of Eric Gillette and Bill Hubauer to the solid core of Mike Portnoy and Randy George, and of course Neal) with songwriting and concept is just incredible. The album is based on the first several chapters of 'A Pilgrim's Progress' by John Runyan, which describes a man's journey from the City of Destruction to Heaven, having to overcome many obstacles along the way.

The tour for the album was unlike anything Neal had ever done, playing the album all around the world for most of 2017. So when the band got together again in the beginning of 2018 to record the next album, they all knew they didn't want to do a double concept album, and definitely not a follow up to 'Similitude'. How could you follow that? The initial writing and recording sessions resulted in a single demo album filled with good songs, but things were unsettled. Neal decided to follow his gut (again) and rewrote and expanded the music they had recorded, and with some trepidation shared this concept album consisting of two and a half hours of music to the rest of the band. They were on board!

The resulting album is entitled 'The Great Adventure'--another double concept album, a sequel to 'The Similitude of a Dream'! The concept centers on Joseph, the son of the protagonist of 'Similitude', who is angry that his father left him and his family in the City of Destruction. He decides to go after his father and faces many challenges of his own along the way. Musical and concept themes from the first album are woven seamlessly into this one, enriching it both musically and lyrically.

In fact, his treatment of music themes is one of the strongest skills of Neal's songwriting, and the Neal Morse Band continues and strengthens this compositional technique. These themes are often used as Wagnerian leitmotifs, bringing to mind a particular character or situation--but then they are turned on their heads, upside down, backwards, different speeds, every way possible. Trying to decipher the themes is one of the joys of discovering this music. For example, on this album the main theme is 'A Love that Never Dies.' The album begins with a short reprise of the final theme of 'Similitude', when this new theme immediately appears. Then it recurs in some form in at least seven more songs (I'm sure I've missed some), then closes the album, along with a companion theme 'To the River'. Another example: a lovely acoustic guitar melody in 'Long Ago' turns into a blistering Eric Gillette riff in 'Welcome to the World 2'--you have to listen hard to pick it out, but it's there.

Here are a couple examples of Neal taking a music theme and turning it using lyrics. Toward the beginning of the album, the 'To the River' theme has these lyrics:

To the river am going, with my sadness and despair. All my questions I bring with me-- I hope to find the answers there.

Then at the end of the album, when Joseph reaches the River and realizes that he must cross over to find his Father, he sings:

To the river I am going, coming 'cross that great divide. Mourn not for me, for I entering To a love that never dies.

One more--when Joseph introduces himself and shares his anger and bitterness, he says that when he complains the people around him say:

Welcome to the world! Where the struggle is real, and you know it feels to beg, plead or borrow. Welcome to the world! Where dreams come to die, and the innocent cry cuz there ain't no tomorrow.

Then when Joseph makes the decision to follow after his father in 'To the River', voices sing:

Welcome to the world! Where souls come to fly, and there is no goodbye cuz there ain't no tomorrow. Welcome to the world! Where the illusion is real, let life you can feel wash away all our sorrow.

But as talented as Neal is with themes, he also excels at writing memorable songs. In fact several of the albums in his discography are singer-songwriter albums, not prog--and they're very good! The most recent example is last year's "Life and Times". Memorable songs are the core of Neal's prog albums as well, of course expanded and embellished and treated with complexity and dexterity--but memorable songs nonetheless. You will never finish a Neal Morse album and not walk away with a few hooks floating around in your head, and that includes this one. A great example is the title track, one of the singles they released prior to the album, available to check out on YouTube. Listen to that and you will hear a great song with excellent hooks--and of course the instrumental break will more than satisfy any symphonic prog fan.

The bottom line is I really love this album! They have built upon the strengths of each band member, and this album sounds even more like a collaborative effort. And how does this stack up to 'Similitude'? It is at least as good, if not better! I didn't think that was possible going into it, knowing it was a sequel. But after living with this album for a while (thanks to Neal for providing an advance copy!), I can safely say that this is one of the great ones, that I will never tire of listening and discovering. There's so much here to enjoy! Five stars (Gnosis 15/15)

Todd


Prologue: Given personal, family, political and professional developments, I just don't seek out enough new prog as I should, but I'm always going to make time for these guys. I was, like most others (fans of, and members of, the band included) super surprised to see a new album so soon, and that it was another double album inspired by the Pilgrim's Progress story. I checked out the singles released on youtube and found them to be solid, but nothing spectacular. There just wasn't a lot of reason to expect this to be a great album--worth having, certainly, but you would think that creativity and inspiration is a limited resource, and both to likely have peaked during the previous album.
But damned if I don't find this to be a better album, defying the odds once again! I generally find this album to be more musical, to flow better, to more deftly integrate moments that remind of Yes, Dream Theater, Styx, Spock's Beard and Transatlantic, but don't scream "we directly wanted to show we were inspired by this song". Take the title track: it clearly is a weird combination of Momentum and The Grand Experiment title tracks from previous NMB albums, but it's just better than both of those tunes. The intro, which serves as a transition between both albums, it so artfully done that I would describe it as genius-level craftsmanship. The tempo kicks and contrasts in the overtures sound more energetic to me (and I greatly enjoyed those moments on the previous album!). The singles sound better in the context of the album as well: the wall of sound seems a little grating by itself, but in the context of the album, they fit quite nicely.

The highlights for me include the first 25 minutes, through Dark Melody--just great pacing, contrasts, performances, and songwriting. Then we have some up-and-down moments in the middle three chapters: nothing bad, but in an album that repeats themes multiple times, it's easy to feel some applications of a given theme work less well, and I find that to be the case in the middle half (i.e., Beyond the Borders and To The River, although the second overture and subsequent subdued sections, and Vanity Fair, are quite good). Then the final highlight passage from me is the last 20 minute or so. Perhaps the emotional release of the finale doesn't equal the previous album, but it's still excellent.

The album does leave with some final thoughts that genuinely surprised me, in terms of thinking about this album in the contexts of NMB specifically, and Neal's work in general. I remember at the last tour, the closer to the first album (Breath of Angels) was heavy on the chorus, and it distinctly lost some emotional punch live, and I do fear that this might happen live to the album closer to this record, but that's on the guys to figure out. More importantly, most of the highlights of the last 20 minutes are Eric's phenomenal signing and guitar parts, so much so that it almost feels weird to call this group The Neal Morse Band. I remember seeing them for their first tour, and the songs and shows were set up to feature Adson Sodre so much on guitar that I really wondered if they needed Eric. He was clearly very good, but he seemed to be a utility player who could sing, play keys, and guitar in a group that had multiple other members capable of doing those things as well, and seemed to have the songs written to feature their work more than Eric's (almost certainly unintentional, but that's what I perceived at the time).

Now that's all changed: Eric's the star here, and I think that I'll look back on this pair of albums and perhaps wish that this exceptional group had a name that better reflects what they really are doing, but I concede that this is certainly a minor point. Another surprise for me was the satisfaction of getting my copy in the mail, and simply placing it next to my Similitude of a Dream album. The artwork, the content, the emotional impact--these albums just belong together, in a similar manner to the Lord of the Rings DVD trilogy that I have on display on the shelf because it looks cool and is meaningful to me personally. I wouldn't have really recommended NMB to make The Great Adventure a year ago, but now that I have it and am really enjoying it, I'm doing a full reversal: come back to this specific creative well one more time and go all in for the Pilgrim's Progress trilogy. I truly believe they have the opportunity to secure a legacy in prog with this series--perhaps not for astonishing musical uniqueness or originality, but instead a sheer thematic triumph of ambition, inspiration and dedication.

Flucktrot



..::TRACK-LIST::..

CD 1 - Act I (54:31)
Chapter 1:
1. Overture 10:06
2. The Dream Isn't Over 2:40

Chapter 2:
3. Welcome to the World 5:25
4. A Momentary Change 3:42
5. Dark Melody 3:29
6. I Got to Run 6:05
7. To the River 5:02

Chapter 3:
8. The Great Adventure 6:17
9. Venture in Black 5:16
10. Hey Ho Let's Go 3:22
11. Beyond the Borders 3:07


CD 2 - Act II (49:44)
Chapter 4:
12. Overture 2 3:46
13. Long Ago 3:45
14. The Dream Continues 1:20
15. Fighting with Destiny 5:23
16. Vanity Fair 4:00

Chapter 5:
17. Welcome to the World 2 4:01
18. The Element of Fear 2:34
19. Child of Wonder 2:28
20. The Great Despair 6:18
21. Freedom Calling 7:31
22. A Love That Never Dies 8:38



..::OBSADA::..

Neal Morse - vocals, keyboards, guitar
Eric Gillette - guitar, vocals
Bill Hubauer - organ, piano, synth, vocals
Randy George - bass, bass pedals, vocals
Mike Portnoy - drums, vocals

With:
Chris Carmichael - strings
Amy Pippin - backing vocals (22)
April Zachary - backing vocals (22)
Debbie Bressee - backing vocals (22)
Julie Harrison - backing vocals (22)



https://www.youtube.com/watch?v=hcq6xc26WQI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niespełna trzy lata po naprawdę bardzo udanym The Similitude of a Dream powraca The Neal Morse Band. I to powraca z kontynuacją literackiej historii zawartej na tym dwupłytowym koncepcie. Przypomnijmy, że ów koncept został luźno oparty na słynnym dziele Johna Bunyana Wędrówka Pielgrzyma. To wejście do tej samej niejako rzeki jest także ponowieniem całej muzycznej konstrukcji, według której zbudowane było The Similitude of a Dream. Zatem dokładnie ten sam kwintet, w bliźniaczą niemalże oprawę graficzną, upakował jeszcze raz na dwóch dyskach ponad sto minut muzyki (tu o 3 minutki mniej) wpisane w 23 muzyczne tematy (czyli o jeden więcej), podzielone na pięć rozdziałów.

Takie konsekwentne trzymanie się przez artystę pewnych przemyślanych założeń zawsze budzi szacunek, ale już bardzo wierne powtarzanie muzycznych rozwiązań, czasami wzbudza kontrowersje. I tu na The Great Adventure dokładnie tak jest. Album zarówno pod względem brzmieniowym, jak i aranżacyjnym jest wręcz bliźniaczą kopią poprzednika. Poużywać sobie zatem mogą ci, których nużą opasłe muzyczne tomiszcza Morse’a z łatwymi do odgadnięcia rozwiązaniami.

Jednak ci, którzy lubią kompozytorską erudycję Morse’a i kochają takie progresywno – symfoniczne granie o chrześcijańskim przesłaniu z pewnością się tym albumem nie zawiodą. Bo choć to momentami granie pełne absolutnie przewidywalnych rozwiązań, to jednak wykonane na bardzo wysokim technicznym poziomie. Każdy z panów po raz kolejny pokazuje tu swój kunszt. Powie ktoś: zatem mamy tu kolejne dzieło pełne przerostu formy nad treścią? Nic z tych rzeczy, gdyż muzycy bronią się po raz kolejny całą masą dobrze zbudowanych kompozycji o świetnej melodyce.

Mamy tu zatem ciągłe żonglowanie kontrastem poprzez zderzanie mocnych, rozkrzyczanych gitarowych riffów uzupełnianych intensywną grą perkusyjną Portnoya (Welcome To The World, The Great Adventure, Fighting With Destiny, The Element Of Fear) z niezwykle uduchowionymi, nostalgicznie brzmiącymi fragmentami (The Dream Isn't Over, A Momentary Change, Long Ago, The Great Despair). Do tego jest u nich to nieodzowne bawienie się różnorakimi konwencjami. Jest miejsce na prog, hard rock, blues, czy muzyczną burleskę (Vanity Fair). Jest też wreszcie ich znak rozpoznawczy - fantastyczne, wielogłosowe harmonie, tak silnie odwołujące się Beatlesowskich figur. Znajdziemy je choćby w Welcome To The World, To The River, The Great Adventure i Vanity Fair. Kwintet ponadto zdaje sobie doskonale sprawę z tego, że aby wciągnąć słuchacza w płytę, należy go skutecznie „atakować” nośnym melodycznym motywem, który co rusz powraca i… z każdym kolejnym razem wydaje się znajomy i jeszcze bardziej atrakcyjny. I tak tu jest, z tym że panowie potrafią go podać za każdym razem w innym aranżacyjnym anturażu.

Najlepsze momenty płyty to już wspomniane The Dream Isn't Over, Welcome To The World, A Momentary Change, The Great Adventure, Beyond The Borders, Long Ago, The Dream Continues, Vanity Fair i The Great Despair zwieńczony najpiękniejszym na całym albumie solowym popisem gitarowym, w sam raz na podgrzanie atmosfery koncertu przed samym jego finałem. Finałem ze wzniosłym i wymownym już w samym tytule A Love That Never Dies. No właśnie.

Mariusz Danielak


Jak skutecznie zmierzyć się z sukcesem poprzedniej płyty? Dodajmy: podwójnej, epicko brzmiącej płyty? Najlepiej nagrać… kolejną podwójną płytę. „Let the great adventure now begin” – ostatnie zdanie z wydanego w 2016 roku albumu „The Similitude Of A Dream”” okazało się prorocze. Wielka przygoda trwa. Bo oto trzymam w ręku nowy, wydany pod koniec stycznia dwupłytowy album The Neal Morse Band zatytułowany „The Great Adventure”.

Z wielu względów można go nazwać kontynuacją wydanej dwa i pół roku temu poprzedniej płyty. To równie opasłe, dwupłytowe dzieło składające się z 2 aktów, 5 rozdziałów i w sumie aż 22 muzycznych tematów układających się w wielką epicką całość. Nawet graficzny projekt okładki jest niemal identyczny. I skład grających muzyków też (Bill Hubauer (k, v), Eric Gillette (g, v), Randy George (bg), Mike Portnoy (dr, v)). No i sama muzyka: wspaniała, epicka, zachwycająca. A w roli głównej oczywiście sam Neal Morse. W wielkiej, fenomenalnej wręcz formie. „Byłem przekonany, że następca „The Similitude Of A Dream” będzie albumem całkowicie od niego różnym, tymczasem poszedłem w stronę, którą podpowiadało mi serce” – tak opowiada on o nowej płycie. Istotnie, w największym skrócie należy stwierdzić, że „The Great Adventure” zawiera te wszystkie elementy, które fani muzyki Neala Morse’a kochają najbardziej: jest tu rock, jest metal, są pierwiastki jazzrockowe, piosenkowe, orkiestrowe, są liczne powracające tematy (tym razem najczęściej przewijają się one w dwóch częściach utworu „Welcome To The World” oraz w „To The River”). Są też nośne, przebojowe wręcz nagrania, wśród których na wyróżnienie zasługuje wspomniane już „Welcome To The World”, „The Great Despair” czy na przykład „I Got To Run”. Co zachwyca to przestrzeń, szczególnie w zakresie wokali, jaką Neal pozostawił swoim kolegom. Partie, w których główne linie wokalne prowadzą panowie Portnoy, Hubauer czy Gillette należą do najlepszych na płycie. I zdecydowanie urozmaicają one brzmienie całego zespołu.

Album „The Great Adventure” skomponowany jest i wykonany z niebywałym rozmachem, posiada niesamowite tempo i flow, który nie pozwala ani na chwilę na wyłączenie się z posuwającej się do przodu, utwór po utworze, akcji. Pod wieloma względami przypomina mi on – a konkretniej poszczególne jego rozdziały – rozbudowane, wielowątkowe suity supergrupy Transatlantic.

Z pewnością „The Great Adventure” nie sposób nazwać dziełem przełomowym w dorobku Neala Morse’a. Na pewno też nie dziełem, które potencjalnie mogłoby wyznaczać nowy etap, czy – jak domagają się krytycy twórczości naszego bohatera – stylistyczny przełom w jego dorobku, ale dla zwolenników (a tych jest przecież znacznie więcej niż przeciwników) dokonań Morse’a będzie to kolejna, blisko dwugodzinna smakowita muzyczna uczta. Ba, jak zwykle w przypadku tego pana utrzymana na najwyższym, liczonym według najlepszych progrockowych standardów, poziomie.

Artur Chachlowski


I believe there are a few definitive moments in the course of a person's music listening. For me, the first one came in 1981 when at the age of 12 I discovered a copy of the recent Yes album, 'Drama', in my uncle's LP collection. Intrigued by the cover, I put it on and never looked back through the prog gates that had been blown open by 'Machine Messiah'.
Then almost 20 years ago I was looking for prog on the internet and found the Gnosis2000 website, and when I looked at the highest rated albums they were by Italian bands I'd never heard of. What?! Better than Yes, Genesis, and King Crimson? I bought 'Per un Amico' and 'Darwin' and realized there is a wonderful prog world outside of English- speaking countries--especially Italy.

A few years after that, I heard Neal Morse's 'One' album, and I was floored. I had really enjoyed his 'Testimony' album and the Transatlantic and Spock's Beard I had heard, but 'One' just took it to another level for me. Not only the musicianship and songwriting, but to write about the concept of separation from and return to divinity, with all of its symbolism--well that was Prog Heaven, and another defining moment for me in my music listening life.

So imagine my surprise when two years ago, the Neal Morse Band released 'The Similitude of a Dream', which I like even better than 'One'! It has since become my favorite album post 1970s, and is a contender for top spot overall. Again, the combination of musicianship (taken to a completely different level with the addition of Eric Gillette and Bill Hubauer to the solid core of Mike Portnoy and Randy George, and of course Neal) with songwriting and concept is just incredible. The album is based on the first several chapters of 'A Pilgrim's Progress' by John Runyan, which describes a man's journey from the City of Destruction to Heaven, having to overcome many obstacles along the way.

The tour for the album was unlike anything Neal had ever done, playing the album all around the world for most of 2017. So when the band got together again in the beginning of 2018 to record the next album, they all knew they didn't want to do a double concept album, and definitely not a follow up to 'Similitude'. How could you follow that? The initial writing and recording sessions resulted in a single demo album filled with good songs, but things were unsettled. Neal decided to follow his gut (again) and rewrote and expanded the music they had recorded, and with some trepidation shared this concept album consisting of two and a half hours of music to the rest of the band. They were on board!

The resulting album is entitled 'The Great Adventure'--another double concept album, a sequel to 'The Similitude of a Dream'! The concept centers on Joseph, the son of the protagonist of 'Similitude', who is angry that his father left him and his family in the City of Destruction. He decides to go after his father and faces many challenges of his own along the way. Musical and concept themes from the first album are woven seamlessly into this one, enriching it both musically and lyrically.

In fact, his treatment of music themes is one of the strongest skills of Neal's songwriting, and the Neal Morse Band continues and strengthens this compositional technique. These themes are often used as Wagnerian leitmotifs, bringing to mind a particular character or situation--but then they are turned on their heads, upside down, backwards, different speeds, every way possible. Trying to decipher the themes is one of the joys of discovering this music. For example, on this album the main theme is 'A Love that Never Dies.' The album begins with a short reprise of the final theme of 'Similitude', when this new theme immediately appears. Then it recurs in some form in at least seven more songs (I'm sure I've missed some), then closes the album, along with a companion theme 'To the River'. Another example: a lovely acoustic guitar melody in 'Long Ago' turns into a blistering Eric Gillette riff in 'Welcome to the World 2'--you have to listen hard to pick it out, but it's there.

Here are a couple examples of Neal taking a music theme and turning it using lyrics. Toward the beginning of the album, the 'To the River' theme has these lyrics:

To the river am going, with my sadness and despair. All my questions I bring with me-- I hope to find the answers there.

Then at the end of the album, when Joseph reaches the River and realizes that he must cross over to find his Father, he sings:

To the river I am going, coming 'cross that great divide. Mourn not for me, for I entering To a love that never dies.

One more--when Joseph introduces himself and shares his anger and bitterness, he says that when he complains the people around him say:

Welcome to the world! Where the struggle is real, and you know it feels to beg, plead or borrow. Welcome to the world! Where dreams come to die, and the innocent cry cuz there ain't no tomorrow.

Then when Joseph makes the decision to follow after his father in 'To the River', voices sing:

Welcome to the world! Where souls come to fly, and there is no goodbye cuz there ain't no tomorrow. Welcome to the world! Where the illusion is real, let life you can feel wash away all our sorrow.

But as talented as Neal is with themes, he also excels at writing memorable songs. In fact several of the albums in his discography are singer-songwriter albums, not prog--and they're very good! The most recent example is last year's "Life and Times". Memorable songs are the core of Neal's prog albums as well, of course expanded and embellished and treated with complexity and dexterity--but memorable songs nonetheless. You will never finish a Neal Morse album and not walk away with a few hooks floating around in your head, and that includes this one. A great example is the title track, one of the singles they released prior to the album, available to check out on YouTube. Listen to that and you will hear a great song with excellent hooks--and of course the instrumental break will more than satisfy any symphonic prog fan.

The bottom line is I really love this album! They have built upon the strengths of each band member, and this album sounds even more like a collaborative effort. And how does this stack up to 'Similitude'? It is at least as good, if not better! I didn't think that was possible going into it, knowing it was a sequel. But after living with this album for a while (thanks to Neal for providing an advance copy!), I can safely say that this is one of the great ones, that I will never tire of listening and discovering. There's so much here to enjoy! Five stars (Gnosis 15/15)

Todd


Prologue: Given personal, family, political and professional developments, I just don't seek out enough new prog as I should, but I'm always going to make time for these guys. I was, like most others (fans of, and members of, the band included) super surprised to see a new album so soon, and that it was another double album inspired by the Pilgrim's Progress story. I checked out the singles released on youtube and found them to be solid, but nothing spectacular. There just wasn't a lot of reason to expect this to be a great album--worth having, certainly, but you would think that creativity and inspiration is a limited resource, and both to likely have peaked during the previous album.
But damned if I don't find this to be a better album, defying the odds once again! I generally find this album to be more musical, to flow better, to more deftly integrate moments that remind of Yes, Dream Theater, Styx, Spock's Beard and Transatlantic, but don't scream "we directly wanted to show we were inspired by this song". Take the title track: it clearly is a weird combination of Momentum and The Grand Experiment title tracks from previous NMB albums, but it's just better than both of those tunes. The intro, which serves as a transition between both albums, it so artfully done that I would describe it as genius-level craftsmanship. The tempo kicks and contrasts in the overtures sound more energetic to me (and I greatly enjoyed those moments on the previous album!). The singles sound better in the context of the album as well: the wall of sound seems a little grating by itself, but in the context of the album, they fit quite nicely.

The highlights for me include the first 25 minutes, through Dark Melody--just great pacing, contrasts, performances, and songwriting. Then we have some up-and-down moments in the middle three chapters: nothing bad, but in an album that repeats themes multiple times, it's easy to feel some applications of a given theme work less well, and I find that to be the case in the middle half (i.e., Beyond the Borders and To The River, although the second overture and subsequent subdued sections, and Vanity Fair, are quite good). Then the final highlight passage from me is the last 20 minute or so. Perhaps the emotional release of the finale doesn't equal the previous album, but it's still excellent.

The album does leave with some final thoughts that genuinely surprised me, in terms of thinking about this album in the contexts of NMB specifically, and Neal's work in general. I remember at the last tour, the closer to the first album (Breath of Angels) was heavy on the chorus, and it distinctly lost some emotional punch live, and I do fear that this might happen live to the album closer to this record, but that's on the guys to figure out. More importantly, most of the highlights of the last 20 minutes are Eric's phenomenal signing and guitar parts, so much so that it almost feels weird to call this group The Neal Morse Band. I remember seeing them for their first tour, and the songs and shows were set up to feature Adson Sodre so much on guitar that I really wondered if they needed Eric. He was clearly very good, but he seemed to be a utility player who could sing, play keys, and guitar in a group that had multiple other members capable of doing those things as well, and seemed to have the songs written to feature their work more than Eric's (almost certainly unintentional, but that's what I perceived at the time).

Now that's all changed: Eric's the star here, and I think that I'll look back on this pair of albums and perhaps wish that this exceptional group had a name that better reflects what they really are doing, but I concede that this is certainly a minor point. Another surprise for me was the satisfaction of getting my copy in the mail, and simply placing it next to my Similitude of a Dream album. The artwork, the content, the emotional impact--these albums just belong together, in a similar manner to the Lord of the Rings DVD trilogy that I have on display on the shelf because it looks cool and is meaningful to me personally. I wouldn't have really recommended NMB to make The Great Adventure a year ago, but now that I have it and am really enjoying it, I'm doing a full reversal: come back to this specific creative well one more time and go all in for the Pilgrim's Progress trilogy. I truly believe they have the opportunity to secure a legacy in prog with this series--perhaps not for astonishing musical uniqueness or originality, but instead a sheer thematic triumph of ambition, inspiration and dedication.

Flucktrot



..::TRACK-LIST::..

CD 1 - Act I (54:31)
Chapter 1:
1. Overture 10:06
2. The Dream Isn't Over 2:40

Chapter 2:
3. Welcome to the World 5:25
4. A Momentary Change 3:42
5. Dark Melody 3:29
6. I Got to Run 6:05
7. To the River 5:02

Chapter 3:
8. The Great Adventure 6:17
9. Venture in Black 5:16
10. Hey Ho Let's Go 3:22
11. Beyond the Borders 3:07


CD 2 - Act II (49:44)
Chapter 4:
12. Overture 2 3:46
13. Long Ago 3:45
14. The Dream Continues 1:20
15. Fighting with Destiny 5:23
16. Vanity Fair 4:00

Chapter 5:
17. Welcome to the World 2 4:01
18. The Element of Fear 2:34
19. Child of Wonder 2:28
20. The Great Despair 6:18
21. Freedom Calling 7:31
22. A Love That Never Dies 8:38



..::OBSADA::..

Neal Morse - vocals, keyboards, guitar
Eric Gillette - guitar, vocals
Bill Hubauer - organ, piano, synth, vocals
Randy George - bass, bass pedals, vocals
Mike Portnoy - drums, vocals

With:
Chris Carmichael - strings
Amy Pippin - backing vocals (22)
April Zachary - backing vocals (22)
Debbie Bressee - backing vocals (22)
Julie Harrison - backing vocals (22)



https://www.youtube.com/watch?v=hcq6xc26WQI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::TRACK-LIST::..

1. Takin' The Hit
2. A New Day Yesterday
3. Blues Deluxe
4. Mountain Time
5. You Upset Me
6. The River
7. Burning Hell
8. Medley: Had To Cry Today / Heart Of The Sunrise / Starship Trooper
9. I Don't Live Anywhere



..::OBSADA::..

Joe Bonamassa - guitar, vocals
Eric Czar - bass
Kenny Kramme - drums



https://www.youtube.com/watch?v=eco0REM7NIY



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

..::INFO::..

Debiutancki album długogrający portorykańskiego zespołu grającego ska i reggae. Na wokalu Lourdes Lopez.

Artist: Don Segundo

Title: Censura

Country: Portoryko

Year: 2008

Genre: Ska, Reggae

Format / Codec: MP3
Audio bitrate: 256 Kbps

..::TRACK-LIST::..

1.Censura
2.I Will Not Beg
3.Un Segundo
4.Pase Lo Que Pase
5.Mentrirosa
6.Sr. Televisor
7.Resistencia
8.Start Stompin'
9.Para No Olvidar
10.Siembra
11.A Reason Why
12.La Dony

..::INFO::..

Highway 61 Revisited to szósty album studyjny amerykańskiego muzyka Boba Dylana, który wydano w 1965 roku. Album znalazł się m.in. na 5. miejscu wszech czasów w rankingu brytyjskiego czasopisma „Mojo” (1995) i 4. miejscu w rankingu amerykańskiego magazynu branżowego „Rolling Stone” (2003). Jest to pierwszy album Dylana nagrany w całości z towarzyszeniem grupy rockowej. Był wyrazem buntu Dylana nie tylko wobec establishmentu i kultury amerykańskiej klasy średniej lat sześćdziesiątych, lecz także buntem wobec własnych fanów, którzy nie akceptowali elektrycznych eksperymentów Dylana z wcześniejszego albumu Bringing It All Back Home. Takie piosenki jak „Like a Rolling Stone” i „Ballad of a Thin Man” zalicza się do jego najpopularniejszych i najbardziej wpływowych utworów.

Title: Highway 61 Revisited

Artist: Bob Dylan

Country: USA

Year: 1965

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Like a Rolling Stone
2.Tombstone Blues
3.It Takes a Lot to Laugh, It Takes a Train to Cry
4.From a Buick 6
5.Ballad of a Thin Man
6.Queen Jane Approximately
7.Highway 61 Revisited
8.Just Like Tom Thumb’s Blues
9.Desolation Row

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

A progressive death masterpiece!!!


Na tym albumie dzieje się wiele, w najbardziej zdumiewający sposób, jaki można sobie wyobrazić.
Zdecydowanie nie przegapcie tych gości, nadchodzą...



2020 provided plenty of quality metal releases, but only a scant few of those which tickled my fancy fall into the “progressive metal” category. Of those, we missed two that deserve mention. The first is Cellar Vessel’s immense slab of Xanthrochroided symphonic prog-death, entitled Vein Beneath the Soil. The second—and, obviously, more preferred, since I’m writing about it—is UK quartet Luna’s Call’s sophomore epic Void.

Luna’s Call haven’t been around very long, but they certainly sound as well-traveled as anyone. Mature, complex songwriting abounds on Void, but not at the expense of fun or excitement. Unlike their debut, which felt like Opeth channeling tech death and Danny Elfman, their sophomore effort blossoms in theatrical Native Constructs with the same flair for the dramatic that Queen often evokes. Individual elements mutate according to the needs of the song, which is exactly how any progressive metal band should incorporate them. Correspondingly, songs mutate according to the needs of the album, again exactly as any progressive metal band should compose them. As a result, Void feels like an expansive concept record and is, therefore, best experienced as a whole.

If there was any one song to convince you further, dear readers, that this record demands your time, attention, and money, it’s “Solar Immolation.” A scathing, scalding opus totaling over 13 minutes in length, this blazing number traverses the gamut of Luna’s Call’s arsenal of tools. Lush strings and space-age synths collaborate with a beautiful piano melody, carried to your ears on the back of a super slick prog-death introduction. From that point, the song juggles different sounds and landscapes without so much as a hiccup. By the time “Solar Immolation” ends, it takes some willpower not to pause and just let the silence punctuate the moment for a minute...

No! We must continue, for there is much left to explore, like “Enceladus and the Life Inside.” Breathtaking vocal melodies melt amidst noodly bass lines and sweet piano arpeggios. It might not be a heavy track, but the burden of its emotional weight too easily ensconces my senses, causing shivers to race up my spine. “Locus” plays with false starts and silence, which troubled me at first, but I quickly came to regard it as one of the standouts of the album because it keeps me on my toes. Immediately following “Locus,” “In Bile They Bathe” executes a swift kick to the balls before booking it—a fine, upstanding power move which proves that the band knows how to self-edit, only putting material where it belongs in measures that make sense.

It makes sense, then, that Luna’s Call close out the record with another long-form banger, “Fly Further Cosmonaut.” Prog-death, delivered with barebones instrumentation, suddenly explodes in a lush crescendo before immediately retreating to pensive plucking and excellent clean singing only to then bring forth a veritable smorgasbord of dynamic twists and satisfying textures. And just like that, Void is over. No frivolous outros or pretentious monologues. It just ends. Magnificent.

Kenstrosity


Hailing from the U.K., Luna's Call released their second full-length album "Void" earlier this year. They have a really unique brand of progressive death metal that will both throw off and intrigue even the most avid of prog enthusiasts. It must be one of the most challenging albums I checked out this year but it's definitely worth taking your time with because the musicianship in here is pure brain-melting gold.

The compositional style is very complex, shifting and always taking you by surprise. The music changes tone, pace and dynamic all the time and you can never really anticipate what will hit you next. It's somewhat amorphous and chaotic but it maintains a good continuity and displays tremendous ingenuity and creativity. The drums and guitar riffs are very swift, agile and restless but can also land in some seriously nasty and clearly paced head-bang patterns. They always like to tease you with syncopated stuff and musical ideas going slightly off from where you'd naturally expect them to. I find that both annoying and stimulating but in the end its definitely a positive aspect for me. And the solos are particularly nutty but also melodic and fluid enough to make sense musically rather than just show off technique. The bass is very hectic, flashy, fast and fluid. It often resembles fretless fluid bass akin to tech-death bands like Beyond Creation. In fact there's clearly a strong technical death component to their style with all the blast beats, fast tempos and challenging parts. But overall I would probably describe it as a hectic version of Opeth with ADHD, weird atmospheres and incredible diversity.

And that gets us to the atmospheric side and various influences. I would hold the keyboard mostly responsible for diversifying the expressive textures, though the vocals and guitar leads often play into that. The vibe is a weird mix of spacey, cosmic vibes and a dash of ethnic/oriental touch, sometimes going towards a cinematic, even slightly cartoonish sound (see the orchestral build-up in the middle of "Fly Further Cosmonaut"). The orchestral arrangements are actually quite diverse and rich, though not always present, which is something that balances out harsh and clear textures beautifully.

Thankfully, the album isn't only eccentric and over the top. There are also moments that allow the listener to take a breath. The soft vocal part in "Signs" and the clean guitar tracks "Enceladus and The Life Inside" and "Silverfish" are all superb moments that display their capacity to express emotion in many forms and to bring about beautiful and creative melodies.

Vocals are seriously satisfying. The death growls are somewhat similar to Michael Akerfeldt, though probably with a more brutal, filthy edge, more akin to brutal or technical death vocals. Cleans are quite diverse and surprising though. For the most part they keep a dash of dissonance and weirdness in decent extent, not overdoing it and also allowing melody to come through. And there's this one moment in "Locus" in a really high register that kinda reminded me of Matt Bellamy form Muse. That's definitely a highlight.

If at the end of it you're not at least a little confused, you probably weren't listening closely. There are so many contrasts and unexpected ideas that really create a unique sound to this band, worthy of praise and admiration. As musicians, they are all inhumanly skilled and yet they also put a lot of emphasis on expression, melody, coherence and a good dose of filth. They managed to dodge the trap of making it all about technical skill and complexity, although that is often the main focus. "Void" is a monster with feelings and intellect and if you're not mentally prepared, it will take you out!

andreipianoman



..::TRACK-LIST::..

1. Merced's Footsteps 02:13
2. Signs 08:27
3. Solar Immolation 13:24
4. Enceladus & the Life Inside 05:22
5. Locus 06:04
6. In Bile They Bathe 03:43
7. Silverfish 02:06
8. Fly Further Cosmonaut 09:19



..::OBSADA::..

Brad Laver - bass, vocals
Neil Purdy - vocals, guitars
Jamie Batt - drums, vocals
Liam Underdown - guitars



https://www.youtube.com/watch?v=wWO023qN6OU



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

...( Info )...

Artist...............: V.A.
Album................: Hits 1000 [40-40]
Genre................: Vari
Year.................: 2024
Codec................: reference libFLAC 1.4.3

...( TrackList )...

001. Kool & The Gang Feat. Ashanti - Cherish
002. Marvin Gaye - Come Live With Me Angel
003. The Jones Girls - Ah, Ah, Ah, Ah
004. Natalie Imbruglia - Wrong Impression
005. Remy Shand - Take A Message
006. The Emotions - Best of My Love
007. Tracy Chapman - Stand by Me (Live at the Late Show with David Letterman)
008. Sheryl Crow - All I Wanna Do
009. Smolik Feat. Victor Davies - U Missing
010. George McCrae - Rock Your Baby
011. Go West - The King of Wishful Thinking
012. Bruce Springsteen - Fire
013. Michael Jackson - You've Really Got A Hold On Me
014. Marlon Roudette - Anti Hero (Brave New World)
015. Robbie Williams - She's The One (2004 Mix)
016. Bee Gees - Stayin' Alive (Promo 12 Version)
017. Bruce Springsteen - Dancing In the Dark
018. Backstreet Boys - As Long as You Love Me
019. Jarabe De Palo Feat. Francesco Renga - Dipende (Versione 50 Palos)
020. Jarabe De Palo - Depende
021. Take That - Shine (Radio Mix)
022. Morcheeba - Rome Wasn't Built in a Day
023. Spandau Ballet - To Cut a Long Story Short (2010 Remaster)
024. Dan Hartman - I Can Dream About You (From Streets Of Fire Soundtrack)
025. RADIOHEAD - Creep (Acoustic)
026. Simple Minds - Mandela Day (Remastered 2002)

...( Info )...

Artist: Various
Album: New Music Releases Week 50 of 2024
Genre: Pop, Rock, R&B, Hip-Hop, Dance
Released During: Week 50 of 2024
Format: Mp3 320 Kbps

...( TrackList )...

01. Fred again.., Angie McMahon - light dark light
02. BossMan Dlow - 46th Street
03. Julien Baker, Torres - Sugar in the Tank
04. Sarz, Asake - C'mon Look! (feat. Asake)
05. Jvke - Worlds Collide (Inspired by Arcane League of Legends)
06. Óscar Maydon - Otra Mentira
07. KSI - Dirty
08. SAILORR - W1LL U L13?
09. Polo G - Thug Memorials
10. BNYX®, Lil Yachty - SMOKING IN THE RAIN
11. Paco, Tommy Richman - BODY SHOP. (feat. Tommy Richman)
12. Twin Shadow - As Soon As You Can
13. Michael Marcagi - Keep Me Honest
14. 49 Winchester - Miles To Go
15. EKKSTACY - she will be missed
16. Stray Kids - Walkin On Water
17. Don Diablo, MK, Gaby Gerlis - Next To Me
18. Offset - Swing My Way
19. Blond:ish, Night Tales - Shout It Out
20. Biig Piig - Ponytail
21. LAUNDRY DAY - Damn Shame
22. Will Swinton - Need You Now
23. Sleepy Hallow - She Like (Fashion)
24. Snoop Dogg, Dr. Dre - Thank You
25. Ne-Yo - Show Me
26. Calle 24, Fuerza Regida, Chino Pacas - ULTIMAMENTE
27. Bayker Blankenship - 300 Miles
28. Beth McCarthy - All My Friends Are Hot
29. carolesdaughter - King Baby
30. KETTAMA, Interplanetary Criminal - Yosemite
31. Sam Short - flatline
32. Emile Mosseri, Julianna Barwick - snowpool
33. Beach Weather - Seth Cohen
34. Nemzzz - Us vs Them
35. 41, Jenn Carter, TaTa, Kyle Richh, Skilla Baby - Split
36. Chris Stussy - What Are You Waiting For (Sunrise Mix)
37. Graham Barham - YOU WON'T LET ME STAY
38. Brray - Entre Comillas
39. Mario - Glad You Came
40. Sad Alex - song that you'll probably never hear
41. Isaiah falls, Sasha Keable - NIGHT OFF
42. mercury - The Fly
43. Ian - No Way
44. Baby Kia, BabyChiefDoit - NEW AGE YN FEAT. BABYCHIEFDOIT
45. Tokischa, Nathy Peluso - DE MARAVISHA
46. Shygirl, Club Shy, Yseult - F*Me (feat. Yseult)
47. Marshmello, Space Laces - Rave Repeater
48. Christian French - caught in the middle
49. Lily Fitts - Brown Eyed Baby
50. Witch Post - Rust
51. Keys N Krates - Back For More (Radio Edit)
52. Peach Luffe - When You Hold Me
53. Tycho, Cautious Clay - Infinite Health (feat. Cautious Clay)
54. DDG, Tory Lanez - HANDLING BUSINESS (with Tory Lanez)
55. Roc Marciano, The Alchemist - Street Magic
56. Amanda Reifer - Woman Now
57. Horsegirl - Julie
58. Will Smith, Joyner Lucas - TANTRUM
59. Hayden Blount - Gettin' Cold
60. Elita - Korean Karaoke Bar
61. Benjamin Booker - SAME KIND OF LONELY
62. Social Club Misfits, Ryan Ellis - Pray
63. Evan Honer - annabelle
64. Sipho. - STAIN. (Golden Tears)
65. Rels B - 1000 Millones
66. Angelique Kidjo, aMEME - Agolo (Next Gen)
67. El Snappo - Smoke With Me
68. BANNERS - Hurts When It's Healing
69. EST Gee - RIP LU MIKE
70. Saam Sultan - My Life
71. Gordo, Emilia - Olvidarte (feat. Emilia)
72. Boombox Cartel, Dillon Francis, Nevve, urboi. - Heartbreak
73. Superheaven - Numb To What Is Real
74. Noah Hicks - Door's Unlocked
75. Vory - Hard to Ignore
76. Chichi, Cecilia Gault - Tokyo Drifting
77. The Afters - You Never Gave Up On Me
78. 21 Lil Harold - Doze Off
79. Pink Siifu, Kal Banx - WHOUWITHHO+
80. SAINt JHN - Glitching
81. Hamilton - La Favorita de Mi Mama
82. Willow Avalon - Something We Regret
83. Swimming Paul - Different Time
84. Chase Bryant - Coming Back For More
85. Connie Diiamond - Choose You
86. dee holt - best of me & you
87. Fiji Blue - Beautiful
88. Kalan.FrFr - Dice Game
89. Chicken P, YTB Fatt - 1:45 in Milwaukee
90. PlayThatBoiZay, Denzel Curry, 03 Greedo - RATATAT
91. Megra - Look Into My Eyes
92. Zulia, Danny Ocean - Un Blues
93. BANKS - Beggin For Thread
94. Fat Joe, Ty Dolla $ign, Cool & Dre - Mini Birki
95. King Promise, Tom Walker - Eyes Dried Over (feat. Tom Walker)
96. Renny Conti - Looking at the Geese
97. Zeds Dead, Minke - Heartbeat
98. WHATUPRG, Nesk Only - RIO
99. Silent Planet - Mindframe
100. Aanchal Tyagi, Raga, Rusha & Blizza, Abhijeet Srivastava - Dhak Dhak
101. Gippy Grewal, Rashmeet Kaur, Akshay & IP - Jutti Kasuri (Roots)
102. Meet Bros., Nikhita Gandhi, Dev Negi - Shaitaniyan
103. Charan, Venoz - Ulfat
104. Jasmine Sandlas, Mofusion - LAAVAN
105. Aditya A - Ludo Life
106. Javed Ali, Avishek Saha - Naina Lage
107. Salim-Sulaiman, Sonu Nigam, Vishal Dadlani - Jaan Le Gayi (From "Bhoomi 2024")
108. Zaeden, Alka Yagnik - Deewana
109. Yo Yo Honey Singh, Hritu Zee - Rooh
110. Renuka Panwar, RAJA, Nawazuddin Siddiqui - Yanta
111. Ayaz Ismail, Javed Ali, Kunaal Vermaa - Kismat
112. Mitraz, Anmol A - Pia
113. Vishal Mishra, Payal Dev, Kunaal Vermaa - Tera Kasoor
114. Hiten - Into You
115. Sunidhi Chauhan, Rusha & Blizza - AANKH
116. Akriti Kakar, Dawgeek - Matthe Te Chamkan
117. Saaj Bhatt, Namita Choudhary - Tere Ho Gaye
118. Harrdy Sandhu, Bunny, Sagar - Tu Ru Ruu
119. Ankit Tiwari, Payal Dev, Abhendra Upadhyay - Pyaar Karo
120. Ankit Tiwari, Arijit Singh, Abhendra Upadhyay - Tum Kya Ho
121. Priyanshu, Hiten - ADIOS
122. Nakash Aziz, Abhinav Swynenberg, Nitesh Srivastava - Breakup Ki Party
123. Rahul Mishra - PHOOLON JAISA
124. Jonita Gandhi, Mitika Kanwar, Milano, Khayyam, Jan Nisar Akhtar - Noorie (Two Sides)
125. Iqlipse Nova, Prakriti Kakar - Tum Ho Toh
126. Shai, NDS - Heera
127. RISH, Rawal - Theek Hi Hoya
128. Jubin Nautiyal, Rahul Mishra, Prince Dubey - Hadh Se
129. Payal Dev, Aditya Dev, Kunaal Vermaa - Dil Na Hoga
130. Kushagra, ShowKidd, Saaheal - Rozaana
131. Varun Jain, Juno - Jaane Kyun
132. Abhijeet Srivastava, Dronark - Sohneya
133. Badshah, Sharvi Yadav - Morni
134. Jasleen Royal, Stebin Ben - Sahiba
135. Amit Trivedi, Armaan Malik, Akanksha Sethi - Sajaniya
136. Sid Paul, Shilpa Rao, Laqshay Kapoor - Aa Gale Lag Jaa
137. Akshath - Tu Hai Kya
138. Darshan Raval - O Beliya
139. Salim-Sulaiman, Shreya Ghoshal, Sunidhi Chauhan - Chhaila (From "Bhoomi 2024")
140. Shreya Ghoshal, Swanand Kirkire - Re Mann
141. Darshan Raval - Ik Tara
142. Javed-Mohsin, Nusrat Fateh Ali Khan, Jyoti Nooran - Kehna Galat Galat
143. Mohammad Faiz, Bunny, Sagar - Tu Hi Tu
144. Ayushmann Khurrana - Jachdi
145. Aastha Gill, Hiten - Nazar
146. Maninder Buttar, Emiway Bantai - Main Hawa Mein Hu
147. Vishal Mishra - Aaj Bhi 2
148. Zehr Vibe, Intense, Sardar Khehra - Sensation
149. Zehr Vibe, Intense - Possessive
150. Prem Dhillon - ASTARR
151. Karan Aujla, Neha Kakkar, Jay Trak, Nora Fatehi - Aaye Haaye
152. Prem Dhillon, Gurlez Akhtar - BADBOY
153. Shooter Kahlon, Shevv - Addiction
154. R Nait, Master Saleem - Adla Badli
155. Gur Sidhu, Gurlez Akhtar, Kaptaan - Ainka
156. Mohitveer, Mitika Kanwar, 4theworld - Akhan
157. The Landers, Desi Trap Music, Sahil Thapar - Daru Sambh Di
158. Khan Bhaini, Shipra Goyal - Andaaze
159. Jxggi, Sickboi - Anthem
160. Dr Zeus, Watan Sahi, Nakeeta - Baari Barsi
161. Jazzy B, Deep Jandu - Blush
162. Akhil Sachdeva, Vaibhav Pani - Bawaal
163. Satinder Sartaaj - Bulauna Ni Aaya

...( Info )...
Artist: Fleetwood Mac
Album: Carry On (Live Sausalito '74)
Year: 2025
Quality: FLAC 16Bit-44.1kHz

...( TrackList )...

01. The Green Manalishi
02. Angel
03. Spare Me a Little of Your Love
04. Sentimental Lady Future Games
05. Bermuda Triangle
06. Why
07. Believe Me
08. Black Magic Woman
09. Oh Well
10. Instrumental Band Introductions
11. Rattlesnake Shake
12. Hypnotized

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

A progressive death masterpiece!!!


Na tym albumie dzieje się wiele, w najbardziej zdumiewający sposób, jaki można sobie wyobrazić.
Zdecydowanie nie przegapcie tych gości, nadchodzą...



2020 provided plenty of quality metal releases, but only a scant few of those which tickled my fancy fall into the “progressive metal” category. Of those, we missed two that deserve mention. The first is Cellar Vessel’s immense slab of Xanthrochroided symphonic prog-death, entitled Vein Beneath the Soil. The second—and, obviously, more preferred, since I’m writing about it—is UK quartet Luna’s Call’s sophomore epic Void.

Luna’s Call haven’t been around very long, but they certainly sound as well-traveled as anyone. Mature, complex songwriting abounds on Void, but not at the expense of fun or excitement. Unlike their debut, which felt like Opeth channeling tech death and Danny Elfman, their sophomore effort blossoms in theatrical Native Constructs with the same flair for the dramatic that Queen often evokes. Individual elements mutate according to the needs of the song, which is exactly how any progressive metal band should incorporate them. Correspondingly, songs mutate according to the needs of the album, again exactly as any progressive metal band should compose them. As a result, Void feels like an expansive concept record and is, therefore, best experienced as a whole.

If there was any one song to convince you further, dear readers, that this record demands your time, attention, and money, it’s “Solar Immolation.” A scathing, scalding opus totaling over 13 minutes in length, this blazing number traverses the gamut of Luna’s Call’s arsenal of tools. Lush strings and space-age synths collaborate with a beautiful piano melody, carried to your ears on the back of a super slick prog-death introduction. From that point, the song juggles different sounds and landscapes without so much as a hiccup. By the time “Solar Immolation” ends, it takes some willpower not to pause and just let the silence punctuate the moment for a minute...

No! We must continue, for there is much left to explore, like “Enceladus and the Life Inside.” Breathtaking vocal melodies melt amidst noodly bass lines and sweet piano arpeggios. It might not be a heavy track, but the burden of its emotional weight too easily ensconces my senses, causing shivers to race up my spine. “Locus” plays with false starts and silence, which troubled me at first, but I quickly came to regard it as one of the standouts of the album because it keeps me on my toes. Immediately following “Locus,” “In Bile They Bathe” executes a swift kick to the balls before booking it—a fine, upstanding power move which proves that the band knows how to self-edit, only putting material where it belongs in measures that make sense.

It makes sense, then, that Luna’s Call close out the record with another long-form banger, “Fly Further Cosmonaut.” Prog-death, delivered with barebones instrumentation, suddenly explodes in a lush crescendo before immediately retreating to pensive plucking and excellent clean singing only to then bring forth a veritable smorgasbord of dynamic twists and satisfying textures. And just like that, Void is over. No frivolous outros or pretentious monologues. It just ends. Magnificent.

Kenstrosity


Hailing from the U.K., Luna's Call released their second full-length album "Void" earlier this year. They have a really unique brand of progressive death metal that will both throw off and intrigue even the most avid of prog enthusiasts. It must be one of the most challenging albums I checked out this year but it's definitely worth taking your time with because the musicianship in here is pure brain-melting gold.

The compositional style is very complex, shifting and always taking you by surprise. The music changes tone, pace and dynamic all the time and you can never really anticipate what will hit you next. It's somewhat amorphous and chaotic but it maintains a good continuity and displays tremendous ingenuity and creativity. The drums and guitar riffs are very swift, agile and restless but can also land in some seriously nasty and clearly paced head-bang patterns. They always like to tease you with syncopated stuff and musical ideas going slightly off from where you'd naturally expect them to. I find that both annoying and stimulating but in the end its definitely a positive aspect for me. And the solos are particularly nutty but also melodic and fluid enough to make sense musically rather than just show off technique. The bass is very hectic, flashy, fast and fluid. It often resembles fretless fluid bass akin to tech-death bands like Beyond Creation. In fact there's clearly a strong technical death component to their style with all the blast beats, fast tempos and challenging parts. But overall I would probably describe it as a hectic version of Opeth with ADHD, weird atmospheres and incredible diversity.

And that gets us to the atmospheric side and various influences. I would hold the keyboard mostly responsible for diversifying the expressive textures, though the vocals and guitar leads often play into that. The vibe is a weird mix of spacey, cosmic vibes and a dash of ethnic/oriental touch, sometimes going towards a cinematic, even slightly cartoonish sound (see the orchestral build-up in the middle of "Fly Further Cosmonaut"). The orchestral arrangements are actually quite diverse and rich, though not always present, which is something that balances out harsh and clear textures beautifully.

Thankfully, the album isn't only eccentric and over the top. There are also moments that allow the listener to take a breath. The soft vocal part in "Signs" and the clean guitar tracks "Enceladus and The Life Inside" and "Silverfish" are all superb moments that display their capacity to express emotion in many forms and to bring about beautiful and creative melodies.

Vocals are seriously satisfying. The death growls are somewhat similar to Michael Akerfeldt, though probably with a more brutal, filthy edge, more akin to brutal or technical death vocals. Cleans are quite diverse and surprising though. For the most part they keep a dash of dissonance and weirdness in decent extent, not overdoing it and also allowing melody to come through. And there's this one moment in "Locus" in a really high register that kinda reminded me of Matt Bellamy form Muse. That's definitely a highlight.

If at the end of it you're not at least a little confused, you probably weren't listening closely. There are so many contrasts and unexpected ideas that really create a unique sound to this band, worthy of praise and admiration. As musicians, they are all inhumanly skilled and yet they also put a lot of emphasis on expression, melody, coherence and a good dose of filth. They managed to dodge the trap of making it all about technical skill and complexity, although that is often the main focus. "Void" is a monster with feelings and intellect and if you're not mentally prepared, it will take you out!

andreipianoman



..::TRACK-LIST::..

1. Merced's Footsteps 02:13
2. Signs 08:27
3. Solar Immolation 13:24
4. Enceladus & the Life Inside 05:22
5. Locus 06:04
6. In Bile They Bathe 03:43
7. Silverfish 02:06
8. Fly Further Cosmonaut 09:19



..::OBSADA::..

Brad Laver - bass, vocals
Neil Purdy - vocals, guitars
Jamie Batt - drums, vocals
Liam Underdown - guitars



https://www.youtube.com/watch?v=wWO023qN6OU



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

...( Info )...


Artist: Steely Dan
Album: Done Up Loose (Live London '74)
Year: 2025
Genre: Jazz rock, yacht rock, soft rock, pop, jazz fusion
Quality: FLAC 16Bit-44.1kHz

...( TrackList )...

01. Bodhisattva
02. The Boston Rag
03. Do It Again
04. Brooklyn (Owes The Charmer Under Me)
05. King Of The World
06. Rikki Don't Lose That Number
07. Pretzel Logic
08. Introduction to Band
09. Dirty Work
10. Your Gold Teeth
11. Reelin' In The Years
12. Show Biz Kids
13. This All Too Mobile Home

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana edycja jednego z najlepszych gitarowych albumów w historii rocka i zarazem pierwsza piątka rockowych płyt z Australii!

Porywające kompozycje, fantastyczne gitarowe solówki oraz mnóstwo zmiennych, ale zawsze 'wpadających w ucho' nastrojów!

Dwa utwory po osiem minut, jeden czternastominutowy oraz trzy wcale nie gorsze, za to krótsze fragmenty. Warto wiedzieć, że gościnnie na instrumentach perkusyjnych zagrał tutaj młody Bon Scott - trzy lata potem wokalista AC/DC!



Twierdzenie, że w Australii przed AC/DC nie wiedzieli, co to rock n roll jest zdecydowanie mylne. Ta odległa kraina ukrywa wiele fantastycznych zespołów w większości dziś już zapomnianych. Jedną z takich pereł jest wspaniały debiut Blackfeather.

Jego dodatkowym atutem jest fakt, że w nagraniu tego albumu uczestniczył 25-letni wówczas Bon Scott. Z dzisiejszej perspektywy może być to chwyt marketingowy, ale jednocześnie byłoby szkoda, gdyby "At The Mountains of Madness" wpisało się w historię rocka tylko jako ekskrążek lidera AC/DC.

We wczesnych latach 70. Blackfeather był bardzo popularnym zespołem w swoich rodzinnych stronach. Świadczą o tym między innymi pierwsze miejsce utworu “Boppin' the Blues" w październiku 1972 roku na Australian Singles Chart oraz fakt, że debiutujące "At The Mountains of Madness" doszło do siódmego miejsca w krajowym rankingu płyt, co jak na tego typu muzykę było nie lada osiągnięciem.

Muzykę Blackfeather można określić jako heavy-rock o charakterystycznym dla tamtych czasów psychodelicznym zabarwieniu. Na płycie znajduje się pełna gama aranży i odjazdów. Poprzez ostre gitarowe riffy, balladę, orientalny (zainspirowany zresztą dolarową trylogią Leone) "Mangos Theme Part 2", folkowo wyniosły "Seasons Of Change", aż do pełnej zagadek i obfitą w zabawną historię suitę "The Rat". Koniecznie trzeba pochwalić całą sekcję muzyczną, z wyróżnieniem Neale’a Johnsa - 18-latka, który nagrał niesamowicie silne, przejmujące i różnorodne wokale (niczym Dr Jeckyll i Mr. Hyde!), oraz gitarzystę Johna Robinsona, którego zaliczano do czołówki gitarowych herosów obok Lobby Loyda oraz Kevina Borichema.

Niestety, po wydaniu debiutu szyki Blackfeather zostały mocno pokrzyżowane. Skład notorycznie ulegał zmianom (przez zespół przewinęło się około 50 nazwisk!), a dalsze ich wydawnictwa sporo odbiegały poziomem od rewelacyjnej “jedynki". Oryginalny krążek CD został wprowadzony na rynek przez Infinity Records, ale w Polsce łatwiej dostępne jest wznowienie Akarmy.

Tak, jak popularne są dziś sprane ramoneski czy babcine flanele, tak równie dobrze można powiedzieć, że album "At the Mountains of Madness" jest krążkiem wyciągniętym ze starej szafy. Podobnie jak stare-nowe ciuchy, płyta Blackfeather idealnie odnajduje się w naszych czasach - prawie 40 lat po swojej premierze.

Szymon Berliński



..::TRACK-LIST::..

1. At The Mountains Of Madness 3:30
2. On This Day That I Die 3:57
3. Seasons Of Change Part 1 3:50
4. Mangos Theme Part 2 8:05
5. Long Legged Lovely 7:30
The Rat (Suite) (13:53)
a-Main Title (The Rat)
b-The Trap
c-Spanish Blues
d-Blazwaorden (Land Of Dreams)
e-Finale (The Rat)



..::OBSADA::..

Timbales, Tambourine - R.B. Scott
Vocals - Neal Johns
Bass Guitar - Robert Fortescue
Drums, Other [Footsteps] - Alexander Kasn
Electric Guitar, Acoustic Guitar, Effects - John Robinson
Electric Piano - John Bisset (tracks: 6)




https://www.youtube.com/watch?v=eKIwx42uRAk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana edycja jednego z najlepszych gitarowych albumów w historii rocka i zarazem pierwsza piątka rockowych płyt z Australii!

Porywające kompozycje, fantastyczne gitarowe solówki oraz mnóstwo zmiennych, ale zawsze 'wpadających w ucho' nastrojów!

Dwa utwory po osiem minut, jeden czternastominutowy oraz trzy wcale nie gorsze, za to krótsze fragmenty. Warto wiedzieć, że gościnnie na instrumentach perkusyjnych zagrał tutaj młody Bon Scott - trzy lata potem wokalista AC/DC!



Twierdzenie, że w Australii przed AC/DC nie wiedzieli, co to rock n roll jest zdecydowanie mylne. Ta odległa kraina ukrywa wiele fantastycznych zespołów w większości dziś już zapomnianych. Jedną z takich pereł jest wspaniały debiut Blackfeather.

Jego dodatkowym atutem jest fakt, że w nagraniu tego albumu uczestniczył 25-letni wówczas Bon Scott. Z dzisiejszej perspektywy może być to chwyt marketingowy, ale jednocześnie byłoby szkoda, gdyby "At The Mountains of Madness" wpisało się w historię rocka tylko jako ekskrążek lidera AC/DC.

We wczesnych latach 70. Blackfeather był bardzo popularnym zespołem w swoich rodzinnych stronach. Świadczą o tym między innymi pierwsze miejsce utworu “Boppin' the Blues" w październiku 1972 roku na Australian Singles Chart oraz fakt, że debiutujące "At The Mountains of Madness" doszło do siódmego miejsca w krajowym rankingu płyt, co jak na tego typu muzykę było nie lada osiągnięciem.

Muzykę Blackfeather można określić jako heavy-rock o charakterystycznym dla tamtych czasów psychodelicznym zabarwieniu. Na płycie znajduje się pełna gama aranży i odjazdów. Poprzez ostre gitarowe riffy, balladę, orientalny (zainspirowany zresztą dolarową trylogią Leone) "Mangos Theme Part 2", folkowo wyniosły "Seasons Of Change", aż do pełnej zagadek i obfitą w zabawną historię suitę "The Rat". Koniecznie trzeba pochwalić całą sekcję muzyczną, z wyróżnieniem Neale’a Johnsa - 18-latka, który nagrał niesamowicie silne, przejmujące i różnorodne wokale (niczym Dr Jeckyll i Mr. Hyde!), oraz gitarzystę Johna Robinsona, którego zaliczano do czołówki gitarowych herosów obok Lobby Loyda oraz Kevina Borichema.

Niestety, po wydaniu debiutu szyki Blackfeather zostały mocno pokrzyżowane. Skład notorycznie ulegał zmianom (przez zespół przewinęło się około 50 nazwisk!), a dalsze ich wydawnictwa sporo odbiegały poziomem od rewelacyjnej “jedynki". Oryginalny krążek CD został wprowadzony na rynek przez Infinity Records, ale w Polsce łatwiej dostępne jest wznowienie Akarmy.

Tak, jak popularne są dziś sprane ramoneski czy babcine flanele, tak równie dobrze można powiedzieć, że album "At the Mountains of Madness" jest krążkiem wyciągniętym ze starej szafy. Podobnie jak stare-nowe ciuchy, płyta Blackfeather idealnie odnajduje się w naszych czasach - prawie 40 lat po swojej premierze.

Szymon Berliński



..::TRACK-LIST::..

1. At The Mountains Of Madness 3:30
2. On This Day That I Die 3:57
3. Seasons Of Change Part 1 3:50
4. Mangos Theme Part 2 8:05
5. Long Legged Lovely 7:30
The Rat (Suite) (13:53)
a-Main Title (The Rat)
b-The Trap
c-Spanish Blues
d-Blazwaorden (Land Of Dreams)
e-Finale (The Rat)



..::OBSADA::..

Timbales, Tambourine - R.B. Scott
Vocals - Neal Johns
Bass Guitar - Robert Fortescue
Drums, Other [Footsteps] - Alexander Kasn
Electric Guitar, Acoustic Guitar, Effects - John Robinson
Electric Piano - John Bisset (tracks: 6)




https://www.youtube.com/watch?v=eKIwx42uRAk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Uważam, że 'Pleased to Meet Me' to najlepszy album, jaki kiedykolwiek wydali Replacements.
W istocie, rutynowo odnoszę się do niego jako do jednego z czterech lub pięciu najlepszych albumów rock 'n' rollowych wszechczasów.
Za ten afront, samozwańczy strażnicy dziedzictwa zespołu kazali mi w sieci odejść od fajki crackowej. Akceptuję to. To po prostu część toczenia się z kultem przyodzianym w podarte trampki i flanelę, który znajduje być może odrobinę zbyt wiele egzystencjalnej prawdy w tekście 'Jedna stopa w drzwiach/Druga stopa w rynsztoku' z 'I Don't Know'

Jednak dla mnie 'Pleased to Meet Me' jest najwyraźniejszym, najostrzejszym, najbardziej oczywistym wyrazem znacznego talentu Westerberga w pisaniu piosenek, zrealizowanym przez zespół, który stał się cholernie dobry w graniu rock 'n' rolla, niemal wbrew sobie. Poprzednie albumy Replacements zazwyczaj zawierały piosenki, które były czystymi odrzutami, sygnałami dla słuchacza, że ​​pomimo narastającej sztuki w ich rzemiośle i poruszającej emocjonalnej głębi często obecnej w tekstach, tak naprawdę nie traktują tego gówna poważnie...



..::TRACK-LIST::..

1. I.O.U. 2:57
2. Alex Chilton 3:12
3. I Don't Know 3:19
Baritone Saxophone - Steve Douglas

4. Nightclub Jitters 2:44
Saxophone - Prince Gabe

5. The Ledge 4:04
Bass Flute - Steve Douglas

6. Never Mind 2:47
7. Valentine 3:31
8. Shooting Dirty Pool 2:20
Guitar - Luther Dickinson

9. Red Red Wine 2:59
10. Skyway 2:04
11. Can't Hardly Wait 3:02
Baritone Saxophone - Steve Douglas
Guitar - Alex Chilton
Strings - Max Huls
Tenor Saxophone - Andrew Love
Trumpet - Ben Jr.



..::OBSADA::..

Vocals, Guitar, Bass, Piano, Written By - Paul Westerberg
Percussion, Vocals - Chris Mars
Bass, Vocals - Tommy Stinson
Keyboards - East Memphis Slim (tracks: 1, 5, 7, 10, 11)




https://www.youtube.com/watch?v=Qp2qA-ijXJ8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Uważam, że 'Pleased to Meet Me' to najlepszy album, jaki kiedykolwiek wydali Replacements.
W istocie, rutynowo odnoszę się do niego jako do jednego z czterech lub pięciu najlepszych albumów rock 'n' rollowych wszechczasów.
Za ten afront, samozwańczy strażnicy dziedzictwa zespołu kazali mi w sieci odejść od fajki crackowej. Akceptuję to. To po prostu część toczenia się z kultem przyodzianym w podarte trampki i flanelę, który znajduje być może odrobinę zbyt wiele egzystencjalnej prawdy w tekście 'Jedna stopa w drzwiach/Druga stopa w rynsztoku' z 'I Don't Know'

Jednak dla mnie 'Pleased to Meet Me' jest najwyraźniejszym, najostrzejszym, najbardziej oczywistym wyrazem znacznego talentu Westerberga w pisaniu piosenek, zrealizowanym przez zespół, który stał się cholernie dobry w graniu rock 'n' rolla, niemal wbrew sobie. Poprzednie albumy Replacements zazwyczaj zawierały piosenki, które były czystymi odrzutami, sygnałami dla słuchacza, że ​​pomimo narastającej sztuki w ich rzemiośle i poruszającej emocjonalnej głębi często obecnej w tekstach, tak naprawdę nie traktują tego gówna poważnie...



..::TRACK-LIST::..

1. I.O.U. 2:57
2. Alex Chilton 3:12
3. I Don't Know 3:19
Baritone Saxophone - Steve Douglas

4. Nightclub Jitters 2:44
Saxophone - Prince Gabe

5. The Ledge 4:04
Bass Flute - Steve Douglas

6. Never Mind 2:47
7. Valentine 3:31
8. Shooting Dirty Pool 2:20
Guitar - Luther Dickinson

9. Red Red Wine 2:59
10. Skyway 2:04
11. Can't Hardly Wait 3:02
Baritone Saxophone - Steve Douglas
Guitar - Alex Chilton
Strings - Max Huls
Tenor Saxophone - Andrew Love
Trumpet - Ben Jr.



..::OBSADA::..

Vocals, Guitar, Bass, Piano, Written By - Paul Westerberg
Percussion, Vocals - Chris Mars
Bass, Vocals - Tommy Stinson
Keyboards - East Memphis Slim (tracks: 1, 5, 7, 10, 11)




https://www.youtube.com/watch?v=Qp2qA-ijXJ8



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